![Photo credit: The Sauce / Tyler Bell “An electrifying bout of rock revival” – Ones To Watch "The bigger the stage, the better Ocean Alley get" – triple j After less than a week on sale, Ocean Alley are thrilled to announce the Sydney and Brisbane legs of their upcoming Australian tour have sold out, with second shows added and on sale now. The surf-rockers have expanded the tour to a total of seven shows across five cities, adding an all-ages show to Brisbane’s Fortitude Music Hall on Saturday 23 May, and a hometown encore performance at Sydney’s Hordern Pavilion on Saturday 6 June. Perth outfits Psychedelic Porn Crumpets and Dulcie will both continue their support run across these dates. All shows are selling fast, tickets on sale now from oceanalley.com.au. These shows mark Ocean Alley’s first national headline tour since 2018, when they last toured off the back of their then newly-released, critically acclaimed second album Chiaroscuro. In the two years since, the band have been writing and recording new music between international tours and festival appearances, releasing singles ‘Stained Glass’, ‘Infinity’ and most recently ‘Tombstone’ in that time. Launching into the new decade, Ocean Alley are fresh off the national Laneway Festival run and a stint in New Zealand over the New Year period, however 2019 ended with 30 sold out performances around the world after playing their biggest international shows to date. The band gave a career-defining, Saturday night main stage performance at Splendour In The Grass and were widely-praised for electric and commanding sets at Bluesfest, One Night Stand, Land of Plenty, Spilt Milk and the sold out, inaugural A Day For The Beaches – a community event they curated on the Northern Beaches to raise money for local charities. To round out their breakthrough year, smash hit single and #1 Hottest 100 of 2018 'Confidence' saw the band receive their first ARIA nomination for Song of the Year, and stand-out moments from that 12 month journey are chronicled in the new 'Tombstone’ video. Hailing from Sydney’s Northern Beaches, Ocean Alley have solidified their position as one of Australia’s most exciting and increasingly booming exports. Having surpassed 200 million catalogue streams, as well as achieving the impressive feat of attaining more than 1.5 million monthly Spotify listeners, Ocean Alley continue to captivate audiences worldwide with their infectious blend of psychedelic surf-rock, selling out a slew of shows at home and abroad, plus performing festivals including Falls Festival (AU), Reading & Leeds Festival (UK), BottleRock (US), Sziget (HU) and Bay Dreams (NZ). OCEAN ALLEY AUSTRALIAN TOUR 2020 with Psychedelic Porn Crumpets & Dulcie Tickets on sale now from oceanalley.com.au Friday 1 May – Fremantle Arts Centre, Perth SELLING FAST Friday 8 May – Thebarton Theatre, Adelaide SELLING FAST Friday 15 May – Melbourne Arena, Melbourne SELLING FAST Friday 22 May – Fortitude Music Hall, Brisbane SOLD OUT Saturday 23 May – Fortitude Music Hall, Brisbane NEW SHOW ADDED Friday 5 June – Hordern Pavilion, Sydney SOLD OUT Saturday 6 June – Hordern Pavilion, Sydney NEW SHOW ADDED Presented by triple j, Lonely Lands Agency & UNIFIED Music Group OCEAN ALLEY – ‘Tombstone' [Single] OUT NOW Available to stream and purchase here.](https://thepartae.com/wp-content/uploads/2020/02/Follow-Ocean-Alley.jpg "Follow Ocean Alley")
Photo credit: The Sauce / Tyler Bell
“An electrifying bout of rock revival” – Ones To Watch
“The bigger the stage, the better Ocean Alley get” – triple j
After less than a week on sale, Ocean Alley are thrilled to announce the Sydney and Brisbane legs of their upcoming Australian tour have sold out, with second shows added and on sale now.
The surf-rockers have expanded the tour to a total of seven shows across five cities, adding an all-ages show to Brisbane’s Fortitude Music Hall on Saturday 23 May, and a hometown encore performance at Sydney’s Hordern Pavilion on Saturday 6 June. Perth outfits Psychedelic Porn Crumpets and Dulcie will both continue their support run across these dates.
All shows are selling fast, tickets on sale now from oceanalley.com.au.
These shows mark Ocean Alley’s first national headline tour since 2018, when they last toured off the back of their then newly-released, critically acclaimed second album Chiaroscuro. In the two years since, the band have been writing and recording new music between international tours and festival appearances, releasing singles ‘Stained Glass’, ‘Infinity’ and most recently ‘Tombstone’ in that time.
Launching into the new decade, Ocean Alley are fresh off the national Laneway Festival run and a stint in New Zealand over the New Year period, however 2019 ended with 30 sold out performances around the world after playing their biggest international shows to date. The band gave a career-defining, Saturday night main stage performance at Splendour In The Grass and were widely-praised for electric and commanding sets at Bluesfest, One Night Stand, Land of Plenty, Spilt Milk and the sold out, inaugural A Day For The Beaches – a community event they curated on the Northern Beaches to raise money for local charities. To round out their breakthrough year, smash hit single and #1 Hottest 100 of 2018 ‘Confidence‘ saw the band receive their first ARIA nomination for Song of the Year, and stand-out moments from that 12 month journey are chronicled in the new ‘Tombstone’ video.
Hailing from Sydney’s Northern Beaches, Ocean Alley have solidified their position as one of Australia’s most exciting and increasingly booming exports. Having surpassed 200 million catalogue streams, as well as achieving the impressive feat of attaining more than 1.5 million monthly Spotify listeners, Ocean Alley continue to captivate audiences worldwide with their infectious blend of psychedelic surf-rock, selling out a slew of shows at home and abroad, plus performing festivals including Falls Festival (AU), Reading & Leeds Festival (UK), BottleRock (US), Sziget (HU) and Bay Dreams (NZ).
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Allan Lahey.
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2019 saw Channel take his mesmerising mix of music, movement and energy to the world’s most elite festivals including Primavera Sound, Movement, and Splendour in the Grass – blowing the roof off three headline AU/NZ shows while in town – and finished the year off joining Toro Y Moi for a stellar 11-city tour across North America.
Along the way Channel has been profiled by FADER and befriended, remixed and collaborated with a who’s-who of chart-toppers including English singer-songwriter James Blake; King Princess (check out track ‘Hit The Back’ released last month); the first official remix for Tyler, The Creator (the epic ‘EARFQUAKE’) and peers Baauer and Danny Brown (who he collaborated with on single ‘READY TO GO’). Between all this, he also released the excellent Black Moses EP.
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Courtney Barnett – MTV Unplugged Live In Melbourne is now out physically on CD and aqua blue vinyl via Milk! Records / Remote Control. Stream here and watch full video playlist here. Watch the video for ‘Nameless, Faceless‘ via the image below.
On October 22nd 2019, Courtney Barnett performed a unique and special show at the invitation of MTV Australia in her hometown of Melbourne. The “Unplugged” performance features Barnett as you’ve never heard her before, warm, vulnerable and emotional. Under a garland of lights and a canopy of florals in the outdoor courtyard of Howler, Barnett performed a stirring set of eight songs to an intimate audience including ‘Depreston’, ‘Avant Gardener’ and ‘Sunday Roast’. Joined by her usual band Dave Mudie and Bones Sloane, she also enlisted cellist Lucy Waldron.
Barnett made the night even more iconic by inviting some of her favourite musicians to collaborate including legendary songwriter Paul Kelly, angelically-voiced New Zealander Marlon Williams and Milk! Records label-mate Evelyn Ida Morris. The performances included covers of Leonard Cohen, Archie Roach and Seeker Lover Keeper as well as a never-before-heard original track from Courtney herself titled ‘Play It On Repeat’.
Courtney Barnett said about her performance “I love playing to Melbourne crowds…I wanted to have a mixture of old songs, new songs and covers, and tracks that we don’t perform all the time – it’s been interesting to see the songs through a different filter, and it brings out this other emotional side to the music and the lyrics”.
She continued, “Unplugged is so nostalgic for me. We had two Unplugged Records in our CD collection growing up and I know those records inside out because we listened to them every day.”
Buy / Stream Courtney Barnett – MTV Unplugged (Live In Melbourne) via https://courtney-barnett.
caroline are pleased to share their debut live session and signing to Rough Trade Records – the track is called ‘Dark blue’. The session was shot in January 2020, in a disused swimming pool in North London. The band hail from London.
caroline began as a three-piece (Jasper Llewellyn, Mike O’Malley, Casper Hughes) in early 2017, initially evolving out of weekly improvisation sessions. Bringing together shared influences in, and experiences of playing, midwestern ‘emo’ guitar music, Appalachian folk, minimalist classical and various forms of dance music.
The group spent a year and a half playing privately, without a project name. Reiterating, deconstructing and re-building the same small handful of songs over and over again, the group slowly expanded their on-stage members before playing their debut show as caroline in 2018. caroline are currently working on their debut album.
caroline are – Jasper Llewellyn – acoustic guitar, cello, drums, vocals, Mike O’Malley – electric guitar, vocals Casper Hughes – electric guitar, vocals Oliver Hamilton – violin Magdalena McLean – violin Freddy Wordsworth – trumpet, bass Alex McKenzie – clarinet Hugh Aynsley – drums, percussion.
Where are you currently based and what is the music scene like there?
I’m Based in Brisbane, I moved from the UK 13 years ago. If you look at the scene in Australia from history back in the 80s / 90s then you can’t compare with the enthusiasm of both venues and punters. Db limits and pokies have plagued the scene somewhat. Venues don’t have the budget or are not prepared to pay for original artists the way cover bands and Tributes get paid. Apparently bands back then were finding a gig at least 3 times per week. Now we have agents selecting their “favourites”.
Brisbane is a place of diverse talent but we still haven’t seen anything that will put Australia back on the map yet for A & R visits. However, please feel free to check out my new single called ‘DumbStruck’
How can we progress and expose new music?
Great question! and I believe radio have much to answer for where educating the public and artists are concerned. A particular radio station for example, still have the same play list from when I moved here 13 years ago!! Friends and family in the UK are always saying to me “have you heard this new song” “have you seen this new rocking band” well no I haven’t ha ha, because radio in Australia does not fully support the cause for what’s developing and happening overseas unfortunately.
How did you first start playing music?
My late father use to sing to me and my brother. We shared a room growing up and my old man would pick a classic tune and play and sing to us on his rusty old acoustic guitar instead of reading a bedtime story. Bearing in mind we were 6 and 4 year old knippers. My father taught me the “3 chord wonder” as he called it haha. I practiced those 3 chords for weeks, I then taught myself some more from guitar books, that was before google lol.
It was when I met a good old pal at the first year of high school that it really began. I taught him a scale or two and now he is a top blues rock player in the South West of the UK. We put together a little novice garage band and rehearsed in bedrooms, garages and school halls. We had real passion man! We learn’t fast and soon booked our first gig at Plymstock Comprehensive School haha. It was the Christmas school disco that we would premiere at the age of 14. From here we grew as trio with myself on bass. Let’s just say the rest is history!
What’s been happening recently?
It’s been a hectic few weeks of late getting everything across the line ready for the single, video, EP and live show launch, and now interviews and promo. March 28th I marry the most amazing lady, so as one can imagine there is much to do. I’m also a full time driving instructor in Brisbane.
Your new single is out now, what influenced the sound and songwriting?
I wrote ‘DumbStruck’ over 14 years ago back in the UK, as a band then with my brother Del on drums we jammed it but never recorded these songs. At the time I was listening to a mix of bands from Trouble, Kyuss, Audioslave, Soundgarden to Stereophonics and HIM. I put an emphasis on melody and hooks as this formula gives colour and emotion. This was probably inherited from growing up listening to The Beatles. With ‘DumbStruck’ it was a progressive experience to write. It has evolved from its basic form and has guitar work that Slash himself could have written haha. The Canadian guitarist who wrote the solos, performed, mixed and mastered on the track goes by the name of Trevor (Hanuman) Stefiuk.
Where and when did you record/produce?
It has been an ongoing project that has spanned over the last two years with Allan Lahey at Taramalin Sound recording studio in Kingston QLD. Allan has been a pioneer and platform for original artists to record in Brisbane for many years. Due to life’s obstacles and funding it has taken longer than I had hoped, but it was worth the wait. Ben Kerswell played a major role in instrumentation and producing something a bit more contemporary. Unfortunately, Ben has had a life changing illness that stopped him in his tracks. Therefore, I was required to hire guys to help perform and complete the last track called ‘Plunge’
While in the process of mastering the track Strive and Repair, the decision was made to invest in a music video to align with this rocking tune. So if you like it rocking and loud this is your chance to hear something new. On the 28th February 2020 the EP ‘A Thousand Years High’ will be launched in Brisbane and be available online and for hard copies of the CD.
I am proud of what has been achieved here as a whole, and I humbly say that the single ‘DumbStruck’ needs to be heard on every radio station across the globe to justify its existence!
You have a EP on the way, how did you go about writing the EP and what influenced the writing?
All of the 5 songs were written firstly on the acoustic guitar over a decade ago. It was a great formula, I would pour a glass or two and put pen to paper. Melody always comes first with me then lyrics to fit the vocal melody. I was heavily influenced from the stoner rock and the grunge era. AIC showed how vox harmonies can be used with heavy crunching riffs. Over the years, vocally I have been influenced by Chris Cornell, Layne Staley. In the early days it was Axl Rose, David Coverdale, Paul Rodgers and Sebastian Bach I took vocal lessons from.
What have you found most rewarding and challenging during the creation of the new EP?
We all knew that the final track recorded on the EP ‘Plunge’ was going to be a challenge. With its unconventional structure and longer than average duration it turned out to certainly be that. All efforts and focus went into a performance for recording that we were happy with. The result is an epic, progressive original sounding track. Funding and time was a major factor for completing this EP.
What’s the EP title?
‘A Thousand Years High’
What do you like to do away from music?
I like to spend time with my kids, however they are now adults and doing their own thing! I like to walk somewhere scenic, visit the mountains and coast, wine and dine. I went through an obsessive stage of practicing the ancient Martial art known as the commercial name of Ninjutsu
Who are you listening to at the moment?
Clutch, Killswitch Engage and Paradise Lost
What’s planned for 2020?
Get married in March and to push this EP, Single and video and obtain as many gigs as possible. I will be writing and still have some heavy tunes to show the lads to later record a full album.
Favourite food and place to hangout?
Being a pomme I do like a decent hot Indian curry. There are a few good Thai restaurants at Westfield Garden City and Raby Bay harbour that I like to visit.
Title: Supernoize (feat. RayRay)
Label: Barong Family
Barong Family’s driving force Yellow Claw just dropped “Supernoize” with Juyen Sebulba, featuring RayRay – the premier single from the label’s upcoming “Hard in Bangkok” album, scheduled for a release in late March. The Dutch duo holds nothing back in this hard-hitting bomb of a track, which delivers a relentless bassline and assaulting synths from start to finish. “Supernoize” is primed for the club and festival circuit; you can almost imagine the Barong crew heading out into the balmy Bangkok lights for a night of hedonism. The forthcoming LP was made during Barong Family’s five-day studio camp in Thailand’s capital city, where fourteen international artists came together to create an inspiring creative space, make great music together, and document everything in the form of photos and videos. “Hard in Bangkok,” as a result of the artists’ gathering, will feature 20 new tracks from such artists as Rawtek, Nonsens, Stoltenhoff, Lil Texas, LNY TNZ, and more, as well as fresh sounds from Yellow Claw themselves, including the brand new “Supernoize.”
Jim Taihuttu and Nils Rondhuis are the talented duo behind Yellow Claw, the electronic music artist project that has been changing the game in bass music since 2013. Their heavy, hip-hop-influenced, and club-ready sound began on their early tracks like “DJ Turn It Up” and “In My Room” ft. Ty Dolla $ign & Tyga – which collectively are about to surpass 300M streams on Spotify alone. Yellow Claw’s 2015′s debut album “Blood For Mercy” hit #1 on Billboard’s Heat Seekers Chart, Top Dance/Electronic Albums Chart, and scored an Edison Award – the Dutch equivalent of GRAMMY. They haven’t slowed down since, with a packed tour calendar that included last year’s epic takeover of the LA’s iconic Shrine Auditorium to a crowd of 7K people, and their work with Barong Family label. Juyen Sebulba is one of the artists who found a home on Barong after working alongside Yellow Claw, Laidback Luke, and Good Times Ahead as well as producing official remixes for DJ Snake, Boys Noize and Major Lazer, and releasing on Diplo’s Mad Decent and Mixmash. Taiwanese RayRay’s reputation for injecting a savage signature sound into her music floated past the ears of Yellow Claw, who signed RayRay to Barong Family in 2018. She performed at such major events as ADE, SXSW, Glastonbury, Sonar Music Festival, and released on Tiësto’s Musical Freedom, Steve Aoki’s Dim Mak, and Spinnin’ Records. Stay tuned for more tracks from “Hard in Bangkok” coming soon to see what’s next from the Barong Family’s crew.
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Where are you currently based and what is the music scene like there?
I’m from amsterdam and the music scene here is very urban and techno minded.
But during Amsterdam Dance Event the whole city is EDM focussed and there’s a crowd for every genre of house music haha!
How did you first start playing music?
When I was 12 years old I started saving money for a DJ set, around the same age I started producing as well. I heard The Prodigy and Tiësto on the radio and I knew I wanted to do something with electronic music.
I was always into music, I started drumming when I was 5 years old and always loved to perform. I wrote my own rap lyrics as a kid and I still love to write lyrics now 😉
What’s been happening recently?
A LOT, it really feels like i’m showing the world a next level Julian Jordan. I’m super motivated and I love to lock myself in the studio after touring. I have so many tracks ready and seeing my recent tracks on the top of so many charts feels like a reward for all the hard work!
You have new music being released on February 21, please tell us about what has influenced the sound and songwriting for the upcoming releases:
I got this vocal in my email and I was immediately hooked on it, I started making the production and finished it within a few days, but i was still trying to find the right fit with the vocals for this track.
When I showed the track to my girlfriend (she’s an amazing singer from Amsterdam) and she told me she would love to give it a try to see if her voice would be a good fit. It turned out to be the perfect match and that’s how this collaboration came together.
Where and when did you record/produce?
When I got the vocal I was at the airport and I think I made most parts of the production on the plane haha.
What programs/equipment do you use?
I work with FL Studio and a basic studio at home and mostly with my laptop haha. I also work a lot in the STMPD RCRDS studios as well, those studios are really next level.
How do you go about writing and recording music?
I love the journey of how a track comes together because it’s always different. The thing I love about producing music is that there are no rules, creative freedom all the way. Trying out new stuff and surprising fans with new music is the best thing in the world.
You are relaunching your YouTube show, what do you planned?
I want to show the world a more personal side of Julian Jordan. A side they can connect with more. The thing I love about social media is that you can choose what you want to show the world and your audience, but this also means that they never see the whole story. I try to show my personal side and take the viewers with me on this journey in my life. To show that I’m just a human having fun making and playing music all around the world.
You’re playing Ultra Music Miami, how do you prepare for live shows and what do you most enjoy about playing live?
I never actually prepare, because i think it’s important to read the crowd as a DJ.
But I do make sure that I have a ton of new tracks ready when I’m playing festivals like Ultra! Especially when a lot of people are going to check out the set online, it’s important to have the best tracks ready for that!
What do you like to do away from music?
Kickboxing is a big passion of mine, and since I’m touring so much I think the most important thing for me now is to stay in touch with my family and friends after touring.
Who are you listening to at the moment?
I’m currently listening to Josh Charm – Trust. Very talented producer!
What’s planned for 2020?
A lot of new music and dope gigs, I think 2019 was about showing the world the ‘Julian Jordan sound’ but 2020 is just about firing all the tracks at the right time.
I just share my love for music with the world and I’ll just keep on doing that every day!
Favourite food and place to hangout?
Amsterdam during the summer and pizza:)
Title: 6 FEET UNDER
Label: Heavyweight Records
Release date: February 21, 2020
After over a year of releasing some of the most menacing, bone-shaking sounds ever heard, GRAVEDGR finally unleashes his debut album “6 FEET UNDER” on the world. The epic fourteen-track project is designed to take the listener on a sonic journey through GRAVEDGR’s own psyche when he was literally digging the final resting places for the departed as a teenager when he helped his father work in a graveyard. The sinister sounds of familiar favorites like “RAMPAGE” and “JESSE JAMES” are accompanied by raw, hard-hitting new tracks such as “FICK DICH” with Carnage & Dither and “Shallow Graves” with Flosstradamus – just two next to several other guest appearances on the album – Krischvn, City Morgue, Junkie Kid, Vulgatron, Awotalk, and Lit Lords. Fans of GRAVEDGR since the beginning are finally treated to his full story on the album, which serves to open another door to the mystery that is GRAVEDGR. Press play on “FEET UNDER” and get ready to plummet to the darkest depths with your favorite grave digger!
Take one look at GRAVEDGR, and it’s easy to see where his name comes from – constantly donning black attire and his signature face mask, it’s no surprise that his day job is literally digging graves. All the time spent contemplating mortality must have inspired his musical sound, which can be summed up as simultaneously scary, melodic and hard. His wildly popular debut single “RAMPAGE” has amassed over 13 million streams on Spotify alone, placing him firmly on the map, and was quickly followed up by the equally relentless “JESSE JAMES,” “BE WARY,” “KAMIKAZE” and more. GRAVEDGR is currently on tour for “6 FEET UNDER” in the US, so check out the dates below and catch him in a city near you.
Feb 21 – Green Door – El Paso, TX
Feb 25 – The Marc – San Marcos, TX
Feb 26 – Soundcheck – Washington, DC
Feb 27 – Trio – Charleston, SC
Feb 28 – Believe Music Hall – Atlanta, GA
Mar 06 – DNA Lounge – San Francisco, CA
Apr 23 – Stereo Live – Houston, TX
Apr 25 – Skyway Theatre – Minneapolis, MN
Jul 03 – Kristalpark – Lommel, BE
Where are you currently based and what is the music scene like?
We’re based in Canberra, ACT. The music scene is great. There’s always good bands to see at Smiths Alternative, The Transit Bar – and we love The Basement. There’s some great bands and artists here. We’re big fans of Citizen Kay and Witchskull 🙂
How did you first start playing music?
Imitating and playing along to our favourite bands, then later on jamming with friends. We all started playing music very young and we’ve all come from diverse musical backgrounds.
How did Glitoris form?
It was magic. Witches were involved, obviously.
What’s been happening recently?
We’ve been busy preparing for our tour! It’s really exciting to be going all over the country. Slut Power is the last single to be taken from our album ‘The Policy’. It’s our live anthem and the song we feel has resonated at our live shows the most. So we decided to give it the single, video and tour treatment.
How did you go about writing Slut Power? / Your new single ‘Slut Power’ is out on the 14th of February, what influenced the sound and songwriting for this single?
Musically, it began as a laid back riff – Malcolm started it off with the bass line. It’s a slower than average tempo by design. We wanted it to sound ominous and sparse at the beginning and build. It was designed to reflect violence against women and how it starts with the language people use to describe women; it’s a completely different, and far more negative, lexicon than words used to describe the same behaviours in men. These words are common, everyday vernacular, which reflects how deeply embedded prejudices against women are. The second verse gets more intense and the chorus has a sludge-metal feel to it. We had the hook from the get go and just built it up over the course of song with the drums getting heavier and the vocals starting a bit bratty and ending in rage. Lyrically, it’s obviously coming from a dark place. There are parts of that song that are very pointed and very personal, which is why it can be delivered the way it is. The 3rd verse is how the media and society generally blames women for the violence committed against them and its insidious. Look at what happen after Eurydice Dixon was murdered in Melbourne in 2018. Superintendent David Clayton stood there and told women: “So just make sure you have situational awareness, that you’re aware of your surroundings. If you’ve got a mobile phone carry it and if you’ve got any concerns, call police.” Fuck off, Clayton. Tell men to stop raping and murdering us. We have the right to walk home at night and not think about this shit. The fact is, we are burdened by this constant feeling of “how can I operate today and go about my business without getting raped or murdered?” We make these calculations every time we want to go for a jog, every time we leave a venue or club late at night. We’re monitoring what’s going on with the Harvey Weinstein trial at the moment and a newspaper published a story on it with a headline about the dress one of the women was wearing when he sexually assaulted her. When women are abused and raped and murdered, the media and society blames them.
Another thing: when this stuff happens to us we’re forced into silence. Jim DeRogatis’s book on R Kelly evidences the dozens of occasions Kelly paid off his victims and got them to sign NDA’s. Criminal acts are committed against women all the time – some physically violent, others more psychologically violent like online trolling, gaslighting and defamation – and most of the time we have to stay silent because we’re either paid to stay silent, blackmailed or shamed into it. So there’s a subtext of vengeance in Slut Power that comes through in both the song and video. Let’s just say we’re pretty experienced in the topics that Slut Power addresses.
Where and when did you record/produce?
We recorded Slut Power in 2018 when we recorded all the songs for our debut album ‘The Policy’. It was recorded by Jay Whalley at The Pet Food Factory in Marrickville, Sydney. The studio session for Slut Power was great – we put a triangle all the way through it, sometimes it comes it a bit muted and percussive and by the third verse, it’s in the background and sounds like an alarm. The album was mixed by Clem Bennett, who is a genius mix engineer, and mastered by Mandy Parnell – another genius mastering engineer from London.
Glitoris is known for having strong views on confronting subjects, please tell us a little about what you think of the current state of politics, gender issues and equality at that this present time:
The whole system is fucked: we are facing the biggest environmental, economic and social issues humanity has ever faced. The harrowing summer we’ve just lived through has shown the result of denial, arrogance, mass apathy and inaction in dealing with climate change. Second to that, the wealth gap is hideous – and it’s growing. The world is being run by billionaire corporations that are focused on growth and individualisation, and it’s unsustainable. The fact that Jeff Bezos can buy a mansion in Beverley Hills for $165mUS off the back of modern-day slavery is one example of how extreme this gap has become. There could be a Billionaire Vs. Billionaire US election this year. The erosion of democracy and human rights is happening before our very eyes in many ways: surveillance, the policing of women’s bodies, the silencing of media organisations and the gross miscarriages of justice we see at all levels in the treatment of Aboriginal people. Unless we take the power back and start to create an inclusive accessible society for everyone, that values the wisdom of Indigenous peoples, scientists and scholars (that currently seem to have no voice and influence in our policies) we have no future. On one level, these issues are now so huge that it’s not surprising we’re in existential crisis. On another level, we’re hardly going to sit back with some popcorn and watch it all play out on TV. The fact that so many have taken that attitude in the past is exactly what’s got us into this mess.
Equality? We are nowhere, not even remotely, near achieving this for Indigenous people and PoC, for women, for those who are LGBTQI+. In fact, we’re going backwards as human rights generally are being eroded.
It’s all fucked. But fuck it, we’re not going down without a fight.
You have a big Australian tour coming up with some first shows in NT, what can we expect from a Glitoris live show?
Politics, humour, passion, fun, brutal honesty, musicianship, banter, protest – but to leave feeling like you had a great night out \*/
How do you prepare for shows?
Scotty likes to do a bit of yoga and flex out the rhythm sticks on her drum pad. Malcolm likes to air pump and dance. Andrew likes to run through her guitar parts and deface things. Keven 007 likes to be amazing, which she does amazingly. Our band ritual includes warming up our voices up with the lady, warming our fingers up, running through some harmonies and, of course, transform ourselves into fierce glittery warriors.
What do find most challenging and rewarding whilst on tour?
Most rewarding: playing the shows, meeting our fans – The Gliterati, hanging with other bands and making friends, listening to fan stories, the moments mid-performance where we see The Gliterati singing the words and punching the air or yelling out for their favourite song – that’s just the best. We also like finding a good bar and drinking gin, and just generally hanging out. We love touring. It feels like a holiday to us. There’s a point where it descends into a delirious stage and every single thing is funny and we laugh so much it hurts \*/
Most challenging: Sleep deprivation.
Who are you listening to at the moment?
Babymachine, Thelma Plum, Moju Juju, Rage Against the Machine
What do you like to do away from music?
Sleep.
What’s planned for 2020?
A massive tour of the country. After that we’ll have a break and then start work on the next album. We’d love to play some festivals later in the year.
Favourite food and place to hangout?
We love vegan food and Au Lac in Dickson, Canberra, is our favourite! We also love Tudo Vietnamese in O’Connor and Andrew and Scott also love Sweet Bones vegan in Braddon.
TOUR DATES:
Friday 8th May 2020 – The Cambridge Hotel, Newcastle NSW
Saturday 23rd May 2020 – Transit Bar, Canberra ACT
“Storybook psych-pop with old school New York charm” – The Fader
Purr’s debut album Like New is a transitional record, full of songs about shedding old patterns and old relationships to make space for what comes next. Out today and produced by Jonathan Rado (Father John Misty, Weyes Blood, Whitney), the sounds of Like New nod, at times, to a place in the past (like your favorite 70’s AM), but they don’t dwell there. Behind its golden sheen, however, lurk stories like the starry, piano-driven “Giant Night”. Named after Anne Waldman’s 1970 book of poems, watch the song’s new black and white performance video below.
Founding band members Jack Staffen and Eliza Callahan say they sing about “the push and pull between recognising the natural end of a relationship while not wanting the patterns of your daily life to change,” in the song’s lyrics. “We were riffing and reflecting on a very simple sentiment: knowing someone so intimately that’s no longer around and not knowing what to do with your empty time that was once spent with that person.”
Like New was written in the band’s basement studio in downtown Manhattan, a repurposed storage space beneath a restaurant in the building where Callahan once lived as a young child—thanks to the goodwill of the very last kind landlord in New York City. After sending around two home recordings produced by Callahan’s classmate, Sam Glick (who has played bass in the band ever since), they were offered a spot opening for Foxygen at Terminal 5, marking their second ever live show. Several months later, Rado produced Like New at his studio in East Los Angeles.
The effects of Americana and Psychedelia on Like New give way to something at once contemporary and classic with Staffen and Callahan’s harmonies, which can eerily forge what sounds like one voice humming at the centre. The band performs as a five piece with Sam Glick on bass, Max Freedberg on drums and Maurice Marion on keys.
PURR – LIKE NEW – OUT NOW.TRACKLIST
1. Hard To Realize
2. Giant Night
3. Gates of Cool
4. Avenue Bliss
5. Boy
6. Wind
7. Refuse
8. Miss Youniverse
9. Bad Advice
10. Take You Back
11. Cherries
12. Evil
Splendour In The Grass 2020
Tickets on sale 9am AEST Thursday, 27th February
Friday, 24th – Sunday, 26th July
North Byron Parklands, Yelgun
Tickets: Official Website
Splendour In The Grass 2020 Lineup
FLUME (ONLY AUS SHOW)
THE STROKES
TYLER, THE CREATOR (ONLY AUS SHOW)
YEAH YEAH YEAHS
MIDNIGHT OIL (The Makarrata Project)
GLASS ANIMALS
DENZEL CURRY
DUKE DUMONT LIVE
VIOLENT SOHO
MURA MASA
KING KRULE
DILLON FRANCIS
DMA’S
TIM MINCHIN
RUEL
IDLES
DOM DOLLA
KING PRINCESS
JPEGMAFIA
GRINSPOON
THE JUNGLE GIANTS
OLIVER TREE
CUB SPORT
PETIT BISCUIT
SAMPA THE GREAT
GERRY CINNAMON
G FLIP
JACK GARRATT
THELMA PLUM
ILLY
JULIA JACKLIN
LIME CORDIALE
TIERRA WHACK
METHYL ETHEL
JULIA STONE
MALL GRAB
JACK RIVER
GROUPLOVE
BAKER BOY
THE CHATS
CHILLINIT
CONFIDENCE MAN
BENEE
BAD//DREEMS
SOFI TUKKER
WALLOWS
STELLA DONNELLEY
STILL WOOZY
TRIPLE ONE
BRUNO MAJOR
ROLLING BLACKOUTS COASTAL FEVER
NORTHEAST PARTY HOUSE
KLLO
PUP
JOY CROOKES
SHANNON & THE CLAMS
HOOLIGAN HEFS
SHAED
MILDLIFE
INHALER
ALEX THE ASTRONAUT
MUNA
JARREAU VANDAL
ALICE IVY
ADRIAN EAGLE
GREENTEA PENG
SURFACES
MO’JU
GEORGIA
BABE RAINBOW PERFORM THE VELVET UNDERGOUND’S ‘LOADED’
STARCRAWLER
BRAME & HAMO
SLY WITHERS
GRYFFIN
BANOFFEE
MICKEY KOJAK
THE BIG MOON
MAKO ROAD
FAZERDAZE
STEVAN
GEORGE ALICE
DRO CAREY & DJ SCORPION
THE SOUL MOVERS
LILLIE MAE
THE LAZY EYES
MISS JUNE
LEX DELUXE
100
PINK MATTER
MIIESHA
ANDY GOLLEDGE
CRY CLUB
CHARLIE COLLINS
MEMPHIS LK
TRIPLE J UNEARTHED WINNERS
PLUS MIX-UP DJ’S
DENA AMY
JORDAN BRANDO
LUEN
AYWY
SHANTAN WANTAN ICHIBAN
AK SPORTS
SAUTI SYSTEMS
MOKTAR
CAROLINA GASOLINA
POLARIS RELEASE NEW ALBUM, THE DEATH OF ME OUT NOW THEIR BIGGEST NATIONAL HEADLINE TOUR STARTS TODAY
“There are moments of depth and cleverness that will warrant repeat listens and the explosive presence of the band is undeniable. This is the music people create that rattles your heart and then some.” – Hysteria Magazine, 9/10
“On The Death of Me, the band has used their talent to position themselves at the top of the Australian metal hierarchy. Next step: world domination.” – Blunt Magazine
“Yes, the songs on this are very strong, memorable and dynamic, the musicianship is tight and the production is punchy as hell.” – themusic.com.au, 4/5
“In the words of Patrick Batemen from ‘American Psycho’ they have really come into their own and if I may add; in an extremely meticulous, emotional and perfectly executed fashion.” – Forte Magazine, 4/5
“It will be the album that many will look at in the future and reminisce about the impact it had on the Australian Music Industry.” – Insert Review Here, 10/10
“Polaris are a band destined for a long, bright future and The Death Of Me is a clever and dignified step towards the gents becoming one of our most successful exports in the heavy world.” – The Soundtrack
“They have certainly put any critics firmly in their place with “The Death Of Me” – Hear 2 Zen
The wait is over! Polaris’ hugely anticipated second studio album, The Death Of Me, is out today via Resist Records. In support of the release, Polaris kick off their biggest national headline tour tonight to a sold out show in Adelaide. The tour sees them travelling around the country to sold out shows in Melbourne, Sydney and Brisbane. Tickets for Perth and 2nd Adelaide show are selling fast and will not last, don’t say we didn’t warn ya!
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