Tour Dates
Friday 6th March: Pitch Music & Arts, Moyston
Saturday 7th March: FourFour, Adelaide
Sunday 8th March: Baker’s Lane, Launceston
Friday 13th March: The Bottom End, Melbourne
Sunday 15th March: Warehouse TBC, Perth
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Canadian singer/songwriter Tanya Ryan is thrilled to announce this week’s release of her new single and music video, “My Heart Song”.
“My Heart Song” – Ryan’s inspirational self-love ballad, which is produced by Mark Troyer – is the lead single from her new album, Open, coming February 20th.
The first new single release since her Top 3 finish in 2017’s Project WILD Artist Development Project, “My Heart Song” follows a period of deep transformation for the Okotoks, Alberta native.
“I went through a period of depression in which I felt really lost and isolated. This song came from the smallest voice that reminded me there is a force greater than ourselves that can support and guide us if we choose to reach for it. It was the final song written for Open, and I chose to release it as the first single because it is the most vulnerable and real. My intention moving forward in life and in music is to be entirely transparent. This was the most honest first step,” says Ryan.
Ryan’s new music marks an artistic shift as well. Known for her country sound on her 2014 EP Simple As That and at many live shows like the Calgary Stampede and the Big Valley Jamboree, the CCMA Discovery alumnus and ACMA-nominated artist has adopted a “country crossover” style for Open that also integrates roots and pop elements.
Joining “My Heart Song” on the album are five other tracks written by Ryan: the empowering life fulfilment anthem “Almost Famous”, the assertive love ballad “I Want You” (co-written with Steve Mitchell in Nashville), the unapologetic tongue-in-cheek pop-funk track “So. Damn. Good”, the contemplative ballad of relationship exploration “Love Like That”, and “Dimes” – a heartfelt ballad about a late mother’s wishes on her son’s wedding day.
Ultimately for Ryan, Open is an authentic expression and exploration of love in its many forms.
The soon-to-be mom says, “In my own life, I wanted to understand the expressions, facets, and nuances of love – love observed by a romantic partner, sexual love, mother’s love, self-love, and a love of one’s ambitious pursuits. This album represents my own understanding of love.”
Tanya Ryan will support these releases with several Canadian shows in Alberta.
Facebook: @TanyaRyanxo
Instagram: @TanyaRyanxo
Twitter: @TanyaRyanxo
YouTube: @TanyaRyanMusic
Spotify: HyperURL.co/phtkwl
What’s been happening recently?
In between shows and our usual day to day lives, we’ve been hard at work behind the scenes preparing for a multitude of things, this single being one of them. We’re all keen to rip into 2020 and releasing this single is just the beginning for us.
Your new single ‘Wherever You Go’ is out on the 24th of Jan 2020, what influenced the sound and songwriting for this track?
I think Will was listening to a fair bit of ‘Royal Blood’ at the time he wrote ‘Wherever You Go’, and that’s where the big bass and lack of guitar in the verses came from.
In terms of drums, I think the idea was really just, “keep it simple, keep it tight”, and that definitely worked for me. The bass and drum combo in the verses is what hooked me when I heard the first mix, and it still does whenever I hear it today.
How did you go about writing Wherever You Go?
This track kinda fell together pretty quick, I seem to recall. Once we had established the basic structure of the verse, everything else just flowed on and clicked together. We definitely spent a bit of time fine tuning the details, but for us ‘Wherever You Go’ was really easy to connect with, and we had no problems laying it down.
Where and when did you record/produce?
‘Wherever You Go’ was recorded with a bunch of other tracks, including our last single ‘Too Much’, in May 2019. We all spent a few days at the local ‘Housefox Studios’, and took our time getting everything sounding just right for these tracks, and we’re quite proud of how they all turned out.
Who did you work with during the recording/production process?
As usual, the three of us bounced ideas off one another until we found the perfect mix to suit the song, but a big influence for us was Lachlan West. He helped us out majorly for our first two EP’s, and we didn’t want anyone else to be behind the desk when we walked into the studio this time around. He has an insane amount of knowledge and skills with all the equipment, and also its just a bonus that he’s an awesome as fuck drummer and mad legend.
How did you approach the recording for this single?
As I mentioned before, we recorded a few other tracks in the same session at the studio, but we made sure we weren’t biting off more than we could chew. We took our time setting up, and made sure every little detail sounded perfect before moving onto the next thing. Being a relatively straight forward song drumming-wise, it was a pretty simple process to lay down the track and then spend a bit more time focussing on the guitars, vocals and all the other little things.
What programs/instruments did you use?
The drums on the track are played on a custom kit, based off a Pearl Reference Pure, and a variety of tasty sounding cymbals from Zildjian, Bosphorus and Meinl. We messed around with a few different sizes of snares and toms, but we ultimately landed on the usual 14 inch snare and I couldn’t be happier with how it turned out.
In terms of production, Lachy is the production wizard, so the ball is very much in his court. All that stuff doesn’t really make sense to me, I think he uses Protools.
Who are you listening to at the moment?
For the last few weeks I’ve had ‘The Vanns’ on repeat non-stop, especially their ‘Through The Wall’ album. I really cant seem to get enough of it, which is the best feeling to me. If I haven’t been listing to that, then I’ve been blasting some ‘Middle Kids’ as well which is always a safe bet.
What is the average day like for you?
For me, most days consist of work until about 4pm. I manage to listen to quite a bit of music while I’m there so I’ve always got my ear out for what’s on the radio/what’s up next on the playlist. After work is usually a quick swim at the beach and/or a bit of time playing drums. I try and get behind the kit every few days, and recently I’ve been investing a bit more time in my technique, instead of just thrashing away like a maniac. If its not one of those things, I usually hang out with Will and Dan for a few hours and we just chill out, have a few drinks and have a laugh.
Do you collaborate with other musicians?
As a band we haven’t collaborated with anyone yet, or that I know of. However if any opportunity of the sort came about, I would be keen to pursue it and see where it takes us.
Have you ever dealt with performance anxiety?
Yeah for sure. I cant speak for everyone when I say this, but I’m sure most performers have had some wobbly knees before a show or two, I think its just natural. Obviously as time goes on and you become more comfortable doing what you’re doing, the nerves will go away. But I have definitely been anxious before a big gig, but they’re the nights that tend to be the best shows we play, so its always worth it.
Any advice for aspiring musicians?
Persevere! It sounds simple but it really is important. We’d all love to play our music and “make it” overnight. But the reality is that rarely happens in this day and age. However, if you’re good at what you do and you continue to put the effort into your practice/gigs/recording then you will 100% start seeing some results, you’ve just got to persist.
What’s planned for 2020?
A whole bunch of stuff, to put it simply.
Without revealing too much, I can safely say you will hear more new tunes, and you will see us playing more shows around the country and locally.
Stay tuned, we’ve got some cool stuff coming.
“Festivalgoers can dance from dusk until dawn, journey through immersive environments, take a dip in the serene lake, indulge in delicious eats from craft vendors, or hit reset with a meditative sound bath or expert-led yoga class.” said Brett Herman Co-Founder and Managing Director at BangOn!NYC. “Over the past four years we’ve delivered big surprises and created unforgettable, transformative memories for our festival family, and 2020 won’t disappoint.”
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Music for tastemakers. Featuring all of tomorrow’s relevant electronic and crossover music today.
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Immersive stages. Featuring engrossing environments composed of 4 main (Earth, Air, Fire, Water) stags along with dozens of community produced stages .
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Larger than life art. Featuring dozens of large-scale art installations spanning from live performances to multi-sensory interactive experiences.
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The ideal destination. Accessible destination for all major metro areas in the Northeast.
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Diverse scenery. From expansive beachfront to an enchanted forest to rolling hills, every summer activity is within reach inside our 100 acres of diverse landscape.
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Special programming. A packed schedule of risque programs and playful workshops.
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A reconfigured campground. Sprawling villages that consist of a variety of tents and makeshift homes that bring to life a small world.
MEAGAN HAMILTON
YOKOO
The multi-day camping festival takes place at a picturesque venue in Northeast Pennsylvania (US), 2.5 hours from NYC. We have an exclusive long-term lease on a prime property that features a private lake, rolling hills, and a magical forest. The event features three days and nights of dance and crossover music, large-scale art installations, interactive performances, a pirate ship, 3D video projection
You’ve had a gnarly 12 months, what’s happened and what’s been happening?
Its been crazy! 2019 was hectic – I think I played about 200 shows 😮
I released an EP and a single with Zoe Badwi, and I did a tour around Bali, Fiji and Oz the last two months of 2019! It was hectic.
Where are you at the moment?
Currently I’m in Tasmania! Playing a show in Burnie Oz Day Eve! My new single just got released! YEEHAW!
We’re frothin on your new single ‘Take It In’ what influenced the sound and songwriting?
Thanks man! Im super proud of it! About a year ago I stumbled across this dude Max Glyde. Absolute freak. The moment I heard is shit I wanted to make something with him. 12 months later we have a single and about 7 beats stacked up! I think his classy feel and my funk work super well together!
Where and how did you go about writing/producing Take It In?
We made the beat in a studio at his uni in Box Hill, and to be honest the crux of it came together in about an hour. Was pre crazy. We both work with Velvet Bloom so we got her in a week later and she smashed the top line. From there, we finessed it for 4-5 months after that.
What programs/instruments did you use to record/produce?
Me and Max both use Ableton. And me and max both heavily use Massive and Sylenth for sounds! As well as Max on live guitar!
How did you approach the recording/production process?
Unless a vocal is sent to me, I pretty much always start with making a beat which is what Max and I did, then you approach a vocalist and re structure and do stuff from there!
Who did you work with if anybody?
Max Glyde (collab), Velvet Bloom (vocals), Lachie Milne (Mixing), Panorama Mastering (Mastering).
What did you find most challenging and rewarding during the creation of Take It In?
Rewarding for me was the dynamic me and max have in the studio. We just click and its so good. It was challenging finishing the last 10% of it. Really challenging. Most of it was there but we took several sessions to be completely happy with it!
How has your live show progressed over the last few years?
My DJ set I feel has just become more versatile and I think as a performer I’ve become more confident in what I’m doing. Im also playing more and more originals which is great. I am definitely working towards my live show though with a full band. Watch this space 😛
What have the fans been like live?
They love it – and its great cause they vary so much depending on where you play. Blessed to be here.
Who are you listening to at the moment?
Max Glyde, Tentendo, Dombresky, Blush’ko, heaps of slower stuff and Yoga music when I’m trying to sleep haha.
What’s planned for the next few months and 2020 as a whole?
Definitely playing shows, but more importantly releasing music and making heaps of it. I have about 4 singles ready and raring and I want them all out this year ideally. 2020 for me is really honing in on the production side of things.
I hear that you’ve got a fun lil show coming up with The Partae, what can we expect?
You must’ve heard correctly 😉 Intimacy, funk, fun and a heap of taking it in 😉
Insta – http://bit.ly/2iXnYeZ
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I’m currently working on my next project, as well as some standalone singles to follow up Life’s A Bitch but ill be able to give a bit more info on that as time goes on.
All I need is a good full english brekky any time of day and a cheap pint in Spoons.
Stephen Malkmus announces his new album, Traditional Techniques, out Friday 6 March via Matador / Remote Control Record and shares lead single ‘Xian Man’.
Traditional Techniques, Malkmus’ third solo LP without the Jicks (or Pavement), is new phase folk music for new phase folks, with Malkmus as attuned as ever to the rhythms of the ever-evolving lingual slipstream. It’s packed with handmade arrangements, modern folklore, and 10 songs written and performed in his singular voice. An adventurous new album in an instantly familiar mode, Traditional Techniques creates a serendipitous trilogy with the loose fuzz of the Jicks’ Sparkle Hard (2018) and the solo bedroom experiments of Groove Denied (2019). Taken together, these three very different full-lengths in three years highlight an ever-curious songwriter committed to finding untouched territory.
Malkmus took on Traditional Techniques as a kind of self-dare. Conceived while recording Sparkle Hard at Portland’s Halfling Studio, Malkmus had observed the variety of acoustic instruments available for use. The idea escalated within a matter of weeks into a full set of songs, and shortly thereafter into a realized and fully committed album. When he returned to Halfling, Malkmus drew from a whole new musical palette–including a variety of Afghani instruments–to support an ache both quizzical and contemporary. The resulting Traditional Techniques is expansive and thrilling. Alongside gorgeous folk music, there are also occasional bursts of flute-laced swagger, straight-up commune rock (‘Xian Man’), and mind-bending fuzz.
Centered around the songwriter’s 12-string acoustic guitar, and informed by a half-century of folk-rock reference points, Traditional Techniques is the product of Malkmus and Halfling engineer/arranger-in-residence Chris Funk (The Decemberists). Matt Sweeney (Bonnie “Prince” Billy, Chavez) plays guitar throughout.
Pre-order Traditional Techniques: https://
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I/AM/ME
NOCTURNAL SUNSHINE – ‘GRAVITY’ FT RY X OUT NOW 2019 was a point of new territory for Maya Jane Coles and her alter-ego, Nocturnal Sunshine. Unleashing the latest studio project in late 2018 with ‘Foundation’ and later ‘U&ME’ the storm began to stir in anticipation for the sophomore Nocturnal Sunshine album ‘Full Circle’, taking the alias in a new direction and delving deep into Maya’s hip-hop influences. Arriving with a plethora of collaborators in tow, Peaches, Catnapp, Three Six Mafia’s Gangsta Boo, Young M.A. and Rising London Rapper, CHA$EY JON£S to name a few, the album drew acclaimed support from all corners of the industry, from Resident Advisor and Mixmag to Q Magazine, FADER and Billboard. This stream only continued across the airwaves with support across Rinse FM and BBC Radio 1, rounding off with Maya appearing on BBC Radio 6 Music for a guestmix with Nemone’s Electric Ladyland.
Entering into a new year, Nocturnal Sunshine seeks to build on the path she has travelled so far, a journey that saw performances across the globe, gracing the stages of Coachella, Sonar Barcelona and London’s Field Day under the alias, along with a dual performance at esteemed London club, FOLD to launch her ‘Full Circle’ LP; Maya made a world first here by performing as both Maya Jane Coles and Nocturnal Sunshine in the same evening. As this story continues to unfold, Nocturnal Sunshine presents a link up with Australian singer-songwriter, Ry X on single ‘Gravity’. Having travelled the world guided by his innate musical compass, Ry X is a musician whose talents know no bounds. From Costa Rica and Indonesia, to London, Berlin and even Hollywood, his excursions have born their fruits in the many collaborations Ry has sought out, linking up with Frank Wiedemann of German electronic duo, Âme under a new alias, Howling. This pairing found Ry aligned with Wiedemann’s, pioneering Innervisions brand, co-founded with Dixon and saw live performances for Ry at Amsterdam’s ADE Fesitval, along with London’s Albert Hall. Adding to this, Ry later caught the ear of R&B queen, Rihanna who invited him to remix single ‘Love on the Brain’. Grabbing the attention of Maya with his ethereal vocals, they team up on ‘Gravity’ to create a bubbling and deeply emotive cut. Inclusive of the signature downtempo breakbeat nuances that lie at the foundations of the Nocturnal Sunshine universe, the haunting and mildly soulful vocals of Ry X strike a chord of their own on ‘Gravity’. Nocturnal Sunshine ‘Gravity’ ft. Ry X is out now via I/AM/ME |
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Just announced – Donny Benét Live – UK & EU 2020
Friday 22 May – Nouveau Monde – Fribourg, CH
Tickets
Sunday 24 May – Botanique – Brussels, BE
Tickets
Tuesday 26 May – The Dome – London, UK
Tickets
Wednesday 27 May – Paradiso Noord – Amsterdam, NL
Tickets
Thursday 28 May – Loppen – Copenhagen, DK
Tickets
Friday 29 May – Lido – Berlin, DE
Tickets
Saturday 30 May – Futurum – Prague, CZ
Tickets
Sunday 31 May – Sunday Moers Festival, Moers DE
Tickets
Tickets on-sale Friday 24 January 9AM BST / 10AM CET
via https://donnybenet.com/
Donny Benét Live – USA & Canada 2020
Tuesday 4 February – L’Esco, Montreal, QC
Wednesday 5 February – Drake Hotel, Toronto, ON
Friday 7 February – Rough Trade, Brooklyn, NY
Saturday 8 February – Great Scott, Boston, MA
Sunday 9 February – Boot & Saddle, Philadelphia, PA
Tuesday 11 February – Songbyrd, Washington, DC
Thursday 13 February – Empty Bottle, Chicago, IL
Friday 14 February – Club Dada, Dallas, TX
Saturday 15 February – Barracuda, Austin, TX
Tuesday 18 February – The Echo, Los Angeles, CA
Wednesday 19 February – Bottom of the Hill, San Francisco, CA
Thursday 20 February – Holocene, Portland, OR
Friday 21 February – Fox Cabaret, Vancouver, BC
Saturday 22 February – The Sunset, Seattle, WA
Tickets via donnybenet.com
What is your name and role within King of Foxes?
Where are you currently based?
How did King of Foxes form?
Your new single ‘No Wrong’ is out now, what influenced the sound and songwriting for this track?
Please talk us through the creative and collaborative process:
How did you go about writing ‘No Wrong’?
Where and when did you record and who with?
How did you approach the recording process?
Who did you work with during the recording/production process?
Who are you listening to at the moment?
What do you like to do away from music?
What’s planned for 2020?
Favourite food and place to hangout?
I’ve been working my way through a Costco-size box of chocolate truffles someone left at my house around Christmas… I don’t have a sweet tooth, but I do have a soft spot for dark chocolate with a little sprinkle of sea salt on it. (Café Brio, in Victoria BC makes the world’s best chocolate truffle, btw. It’s also one of my favourite places to hang out when I’m on the coast.) We did a lot of travelling last year, and honestly right now my favourite place to hang out is my own home.
Website: www.kingoffoxesband.com