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Music News

Peter Sterling Announces New Album ‘Heaven Sent’

by the partae
written by the partae

Critically acclaimed New Age artist and harpist Peter Sterling is set to release his latest album, Heaven Sent, on November 29, 2024. Known for his transcendent compositions that fuse meditative melodies with spiritual depth, Sterling’s new album promises a journey of ethereal soundscapes that echo his signature style. Featuring harp, keyboards, Native flute, Tibetan bowls, and an ensemble of world-class musicians, Heaven Sent explores the power of music to uplift and heal.

About Peter Sterling:
Peter Sterling is a visionary artist whose music channels a deep connection to spiritual realms. His journey into music began with a series of mystical experiences in Sedona, Arizona, where he encountered angelic harmonies during meditative states. These divine experiences led Sterling to adopt the harp as his primary instrument, resulting in a prolific career with multiple #1 albums on international radio charts. Sterling’s music has been a staple on New Age platforms such as SiriusXM Spa, Pandora, and Spotify, earning him awards like the Hollywood Music in Media Award and COVR Visionary Music Awards.

Sterling’s 2021 album, Sanctuary of Light, won the Hollywood Music in Media Award for Best New Age Album. In 2022, his album The Winding Way received the Gold COVR Visionary Music Award for Best New Age Album. His latest album, Mystic Voyager, continued his success, earning accolades like Best Contemporary Instrumental Song at the Intercontinental Music Awards. Sterling is also known for his visual art and books, blending his passion for spirituality and creativity across multiple mediums.

In addition to his music, Sterling’s 2023 music video for “The Long Cold Winter” — a piece inspired by the war in Ukraine — has won several international film festival awards, including Best Music Video at the Los Angeles Cinematography Awards and the Swedish International Film Festival.

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Music News

APL.DE.AP AND !LLMIND COME TOGETHER FOR NEW SINGLE ‘NEVER’

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SINGLE RELEASED OCTOBER 1ST, OFFICIAL START OF FILIPINO-AMERICAN HISTORY MONTH

As America begins its month-long celebration of Filipino-American history, two of the culture’s most celebrated musicians – Black Eyed Pea Apl.de.Ap and producer and songwriter !llmind – come together to drop sublime new hip-hop single ‘Never’.

A chilled out, loping hip-hop cut, ‘Never’ keeps it stripped back and simple, oozing easy confidence. Bouncing bass and relaxed piano lines give the single a summery vibe, a sweet top line drizzled across the top.

“I’m really excited about finally putting out Never,” Apl.de.Ap said. “It’s been amazing getting to work with a world class talent like !llmind. It’s a song I’ve performed a handful of times and I’m glad it’s coming out. I hope everyone enjoys it.”

A household name around the world and a revered icon in his home country, Apl.de.Ap is founding member of one of the world’s most successful hip-hop and pop bands. Dominating international charts with hits like Where Is The Love, Boom Boom Pow, I Gotta Feeling, Where Is The Love, Shut Up and countless more, he’s also been a global ambassador for Filipino arts, technology and business over the past three decades.

Having worked with the likes of Ariana Grande, Beyoncé, Jay-Z, Nicky Minaj, Fhuture, Khalid, Kanye West, Drake, Dr. Dre, Ludacris, 50 Cent and more, NYC-based !llmind is also an acclaimed artist in his own right. His 2004 remix of Jay-Z’s ‘Black Album’, The Black and Tan Album, received critical acclaim by a host of press including the New York Times, while Disney enlisted his talents to produce Moana’s outro song ‘You’re Welcome’ featuring Lin-Manuel Miranda and Jordan Fisher, and to work on The Hamilton Mixtape.

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Festival NewsMusic News

KNOTFEST AUSTRALIA 2025 – LINE-UP IS HERE!

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written by the partae

KNOTFEST RETURNS TO AUSTRALIA IN 2025  IN MELBOURNE, BRISBANE & SYDNEY 

Slipknot 
A Day To Remember
BABYMETAL, Slaughter To Prevail, Polaris
Within Temptation, Enter Shikari, Hatebreed
In Hearts Wake, HEALTH, Miss May I, Vended, Sunami

Early Bird Pre-Sale On-Sale: Monday 21st October
9am local: 2024 Ticket Purchasers
10am local: Knotfest Premium Members (Join https://knot1.co/Premium)
11am local time: Sign Up For Early Bird knotfest.com/australia

General On-Sale: 3pm local time, Wednesday 23rd October
From Knotfest.com/Australia

Exclusive VIP Packages Available
Packages Include A Backstage Tour And Side Stage Viewing

 

KNOTFEST, the destination festival brand curated by SLIPKNOT, returns to Australia in 2025.

The music and counterculture experience will hit the East coast of Australia starting on Friday, February 28th at Flemington Racecourse in Melbourne, then heads to Brisbane on Sunday, March 2nd at Brisbane Showground before wrapping up in Sydney on Saturday, March 8th at Centennial Park.

Headlined by SLIPKNOT, the 2025 festival line-up also includes A DAY TO REMEMBER, BABYMETAL, SLAUGHTER TO PREVAIL, POLARIS, WITHIN TEMPTATION, ENTER SHIKARI, HATEBREED, IN HEARTS WAKE, HEALTH, MISS MAY I, VENDED and SUNAMI.

Following their monumental performances launching Australia’s first ever KNOTFEST in 2023, SLIPKNOT will return down under in 2025 to headline proceedings for this not-to-be-missed rock and heavy music festival.

As always, attendees can expect a performance unlike any other, from a band who only get more thrilling, exciting and cathartic as time goes on. Having released a new record in 2022, The End, So Far (crowned at #1 on the ARIA Albums Chart; their fourth consecutive album to do so), SLIPKNOT refuse to rest on past glories and continue to innovate, with fan favourites including as many new songs as older. Between enduring fan-revered singles like Duality, Psychosocial and Wait and Bleed, as well as deeper cuts and newer material over the years, SLIPKNOT’s drive and creativity bleeds through their jaw-dropping live performances.

In 2012, the journey to creating a platform of their own in KNOTFEST, was born out of SLIPKNOT’s dedication to creating a memorable live experience for audiences around the world. Headline slots at some of the world’s biggest festivals including Download, Wacken, Rock In Rio, Hellfest and more perfectly set SLIPKNOT up with the ambition to take things further; building their own festival that not only championed new waves of incredible talent, but enshrined their own status as one of the best bands to do it.”

No strangers to Australian shores, Florida-hailing quartet A DAY TO REMEMBER head to Australia for the first time since 2019. Wielding an irresistible melting pot of metalcore, pop-punk and post-hardcore, A DAY TO REMEMBER have remained one of the most versatile and vigorous acts to emerge from the early 2000s, with the group remaining an active force from the halcyon days of Myspace and physical media through to the modern era of TikTok and streaming. In command of hundreds of millions of Spotify streams and YouTube views, seven studio albums, including two certified Gold records, entirely sold out tours in their wake, and their own curated Self Help Festival.

Electrifying purveyors of kawaii metal, BABYMETAL, will bring their kaleidoscopic infusion of J-pop-meets-heavy-metal wizardry. BABYMETAL have taken the heavy world by storm since first forming in 2010. Between their exclusive global fanbase, THE ONE, ongoing chart success, including the rare feat as becoming the first Asian act to storm to the top of the Billboard Rock Albums chart, avant-garde creative aesthetics and direction, and a legion of celebrity fans, including Corey Taylor, Rob Zombie, Metallica, Deftones and Limp Bizkit, BABYMETAL unleashed their fourth studio album The Other One in 2023 and sold out their first Australian headline tour in 2023. The group also recently teamed up with German metal partystarters Electric Callboy on the hyper and heaving track RATATATA.

After obliterating Aussie crowds with their debut Australian performance as part of Good Things Festival in 2023, Russian deathcore behemoths SLAUGHTER TO PREVAIL led by the formidable frontman, Alex Terrible, bring a ferocious blend of deathcore and blackened metal sonic onslaught that leaves no survivors. Their relentless pursuit of metal domination has led them to conquer stages across the globe, and their relentless dedication to their craft and their unwavering stance against violence, they have the ability to captivate audiences with their brutal yet melodic compositions.

Earning a reputation as one of the most formidable Australian heavy bands of their generation, Sydney’s POLARIS weld a gripping blend of melodic metalcore, electronica, lush post rock and heartfelt lyricism, with their most recent album, 2023’s Fatalism, earning the group their first ever #1 ARIA Albums Chart debut, winning AIR’s Best Independent Heavy Album award as well as securing their third ARIA Music Award nomination following nods for 2017’s The Mortal Coil and 2020’s The Death of Me. Along with their laundry list of accolades are sold-out headline tours of Australia and tours across the globe as well as appearing at multiple international festivals.

Pioneers of dark and anthemic music, WITHIN TEMPTATION, has captivated audiences for over 20 years and the Dutch powerhouse modern rockers will head to Australia for the very first time in 2025. Their career spans eight studio albums, over four million records sold and dominating the Billboard Mainstream Rock Charts, WITHIN TEMPTATION are renowned for their powerful live performances.

British rockers ENTER SHIKARI exploded onto the scene in 2023 and their 2007 debut album Take to the Skies generated significant chart success and certified Gold status. A band who wield an exhilarating amalgamation of alt rock, and electronica along with drum and bass, dubstep and beyond, ENTER SHIKARI also delve into societal and personal themes, seen most recently on 2023’s A Kiss for the Whole World, which debuted #1 on the UK album charts. They have garnered multiple award wins and nominations over the years, including for their unforgettable onstage prowess.

American heavy metal hardcore icons HATEBREED are set to detonate their monstrous live show down under, celebrating 30 years as a band. Commemorating three decades in existence that has spanned eight studio albums, multiple Billboard 200 appearances and global fanbase, HATEBREED are also primed to salute their seminal sophomore album, 2002’s Perseverance, with Australian audiences. Perseverance paved the way for the fusion of hardcore and metal and received worldwide recognition hailing HATEBREED as forefronts of the genre.

Hailing from Byron Bay, Australian metalcore giants, IN HEARTS WAKE, are fresh off the release of their sixth studio album, Incarnation and national Australian headline tour. IN HEARTS WAKE fuse themes of social and environmental justice into their palpitating brand of metalcore, with millions of streams and a dedicated fanbase across the globe flourishing alongside the band’s environmental endeavours.

Adding to the brutality is Los Angeles industrial cult-faves HEALTH following their entirely sold out down under headline run earlier this year. An addictive and transcendent force to be reckoned with, HEALTH’s industrial-cum metal wiles lurch under your skin while balancing nihilism and mesmerising textures, witnessed most vividly on their 2023 full length album RAT WARS. All the way from Ohio, metal mavericks MISS MAY I will lend their trademark sonic fury to the KNOTFEST experience, following the recent unveiling of their entirely re-recorded 15th anniversary version of their beloved 2009 debut album Apologies Are for the Weak.

Hailing from Des Moines, Iowa, VENDED has been pushing the limits of combustible energy and raw aggression since their 2018 inception. Their bold, honest, passionate take on heavy music raises the flag for a new generation. Revolver heralded them as one of 10 Bands Leading the New Wave of Nü-Metal and they have shared stages supporting Bring Me The Horizon, Avenged Sevenfold, Korn, and Knocked Loose and headliners/festivals in North America, Europe and South America.

San Fran bay area hardcore group SUNAMI formed in 2019. Originally intended as a short-lived joke band however after gaining notoriety for their violent debut live performance, the band continued past their planned time frame with the release of three EP’s and their self-titled debut album in 2023. Revolver credited them as “in the upper echelon of bands dominating the hardcore zeitgeist.”

KNOTFEST Australia 2025 will see the elevated return of the fan-favourite KNOTFEST MUSEUM. The enhanced museum will unveil iconic items throughout SLIPKNOT’s 25 year defining career including new activations, photo op, and more that immerse you into SLIPKNOT history/lore. This can’t miss event will bring the globally loved attraction back to Australia. As this event sold out last time, tickets are strictly limited in each city.

Early bird pre-sale tickets are on sale at 11am local time on Monday 21st October here and general public tickets go on sale at 3pm local time on Wednesday 23rd October here.

KNOTFEST AUSTRALIA 2025
DATES AND VENUES:

Friday 28 February 2025 – Flemington Racecourse, Melbourne
Sunday 2 March 2025 – Brisbane Showground, Brisbane
Saturday 8 March 2025 – Centennial Park, Sydney

Stay up to date on all things KNOTFEST over at https://knotfest.com/australia/ and by following on socials.

Find KNOTFEST AUSTRALIA Online
https://knotfest.com/australia/

FACEBOOK | X | INSTAGRAM | TIKTOK

 

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Music InterviewsMusic News

Interview – Heritage and Hip Hop: Spitty’s Global Journey

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Your new album Motherland draws heavily from your heritage. What inspired you to create such a culturally rich and personal project?

It’s something I’ve been dipping my toes into for years. I always loved hearing Indian samples in hip hop growing up, and was ecstatic when I found out the rap scene was emerging in India. The Indian/Desi hip hop scene has grown immensely over the past decade, and so it was the perfect time for me to create a project that blends the worlds I grew up within. For me, it was a natural progression in my career. My first album was focused on showcasing my skills as a rapper who can speak on deep topics. This album was about more than just myself.

How did the collaboration process with artists from Canada, India, and the US come together for this album? Were there any challenges blending different cultural influences?

These are the countries that I’ve grown up within. I’m of Indian descent, born in the US, and grew up in Canada. Because of that, I’ve naturally focused my attention on these markets and have grown there the most. Through that, I’ve built connections, and collaborating with all of these artists came very organically. I honestly didn’t find any challenges either because each song was crafted very intentionally. Everyone fit in and added to the song they were on in a beautiful way.

The track “Mom” offers a personal glimpse into your relationship with your mother. What was the inspiration behind writing such an intimate song, and how has she influenced your music career?

When I reference my music career I usually speak on when I first discovered hip hop back in elementary school. But, my initial love for music was probably instilled through my mom. She’s always listening and singing along to music while cooking, cleaning, and doing all sorts of other work, and it’s been that way since I was born. That joy of music was passed down to me, along with that hard work ethic, and I carry both in everything I do.

“Rodeo” marks your first official Punjabi collaboration. How important is it for you to blend South Asian music with modern hip hop, and what was it like working with Yuvy and Roze?

That’s what this album is really all about, so it was fun to finally make one. I’m not Punjabi, but I grew up in Brampton which has a heavy Punjabi population. I’ve definitely been influenced by the culture, and so this song was pretty seamless to create. Roze had already connected Yuvy and had the demo, and then we restructured it out, added my verses, recorded it all and polished it up. One thing Roze did do that was great was translate the lyrics for me which really helped keep everything I was saying in theme with him as well.

You’ve been gaining attention both in Canada and India, especially after going viral on Instagram. How has that international recognition impacted your career and approach to music?

Seeing who is paying attention lets me know who I need to be targeting and focused on. I already went to India for 2 months last year to tap into the scene out there. Now I know for sure I’m heading in the right direction, and am working to continue growing both markets.

As a Brampton Artist Ambassador, you’re deeply involved in your local community. How do you balance your music career with your community leadership roles, and why is it so important to give back?

They’re intertwined for me. I’ve had many big wins in my career through my involvement with the city of Brampton, and in return I continue to push Brampton in a positive light, working to change the narrative around our city. There is incredible talent in Brampton, and I want to create opportunities for the people that don’t always have them.

Your previous album Full Circle was praised by Rolling Stone India and Much Music Canada. How has your music evolved since then, and what new themes or sounds did you want to explore with Motherland?

I’ve performed over 100 times since then, and that’s really allowed me to see how new audiences react to my music, especially with what is working and what isn’t. My sound is much more evolved and polished now, while still holding true to my original values and goals as a music artist. Motherland also is heavily South Asian influenced, and while Full Circle had some of that, this album really crafts out a unique Spitty sound that maybe didn’t exist before.

With Motherland, you’ve incorporated a lot of diverse sounds and collaborations. Is there a particular track that stands out to you or was especially meaningful to create?

Every song was honestly made with its own intention and to live in its own space. Each song is a different vibe for that very reason. I didn’t want the songs to compete with each other. But if I had to pick one that was meaningful to create, it was definitely the final song, Mom. That’s a personal song, and there are no features or crazy heavy production to hide behind. But, the response has been unreal on that song, and that truly hits home.

You’ve been hosting open mic events and giving motivational speeches at schools. How do these experiences shape your music, and what messages do you hope to leave with the next generation of artists?

It reminds me what and who I started making for. I was in high school when I started making music, with the hopes to motivate and inspire people around my age. So now that I’m older, I’ve realized I am the role model that I wanted when I was young. There’s probably kids looking up to me from all around the world. And I want to show them what’s really possible through hard work, perseverance, and positive intentions.

Looking ahead, what can fans expect from you in the near future? Are there any upcoming projects or collaborations we should be excited about?

Right now I’m focused on pushing this album because I see big potential with it. I’m doing my headline show in Toronto on October 25 at Drake Underground, and am planning further shows after that. 2025 I’ll be back with some big tunes though. I want to give this album the shine it deserves, and then keep that momentum going for a global 2025 takeover.

Spitty headline show in Toronto at The Drake Underground on October 25th

Instagram: @spitty95
Twitter: @Spitty_
Facebook: @Spitty95

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Music News

MARCUS WYNWOOD returns with genre-bending EP

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MARCUS WYNWOOD returns with genre-bending EP 

‘NEVER STOOD OUT AND NEVER FIT IN’

 

Photo by Hayley Wynwood

 

Tasmanian singer/songwriter Marcus Wynwood has today returned with his 3rd EP ‘Never Stood Out And Never Fit In’; a self-produced collection of 7 sonically diverse tracks, delving into everything from delicate folk to fuzzed out, garage punk. 

 

From the opening chords of the atmospheric, acoustic ballad ‘Never Left The Ground’, its immediately evident that ‘Never Stood Out and Never Fit In’ will be drawing on many different genres throughout it’s runtime- as per usual, for the Tassie troubadour. The EP isn’t completely missing the angsty punk Wynwood has become known for (with tracks such as ‘White Boy’ showcasing Marcus at his riff-heavy, blistering best);  but tracks such as ‘Cabbage’ (a gentle, swaying folk tune featuring harpist Emily Sanzaro), and ‘Disjointed Digitalised’ (a chaotic, eerie sample-filled soundscape) showcase Wynwood’s willingness to dive into different styles headfirst, whilst still holding firmly on to his own musical identity.  

 

Thematically, the EP matches the diversity of sounds through its lyrical content – celebrating individuality and refusing to stick to the norm. 

 

“This EP is a bit of a mix of styles and ideas, but I feel like it comes together to create a coherent piece of work. The title “Never Stood Out and Never Fit In” describes how a lot of people feel about life sometimes. Too weird to be popular and not cool enough to hang with the cool kids. This idea could describe the tracks on this release!” MARCUS WYNWOOD

 

Mixed and recorded by Marcus in his hometown of Penguin, the EP was mastered by Grammy award-winning engineer  William Bowden (Gotye, Living End, Kylie Minogue) in Launceston, Tasmania. Featuring 3 different collaborations throughout the EP, ‘Never Stood Out And Never Fit In’ see’s Wynwood bringing in many different textual elements of the EP, whether that be through different instrumentation or analog production techniques. 

 

“This was a fun record to make. I got to collaborate with some of my favorite musicians such as Andrew Sulzberger of The Bad Dad Orchestra, Sheyana Wijesingha of the The Sheyana Band, and the amazing Emily Sanzaro who is a prominent Australian harpist who played on the track “Cabbage”. For that track I was going for Massive Attack or Radiohead style ambient weirdness, and she absolutely nailed it. There are tracks that use homemade tape loops I created on my old 4-track tape recorder. 

 

I spent hours with a razor blade and sticky tape creating the right length tape loop to get the sounds I was after. Other songs were mixed down to a 1970s reel-to-reel tape machine and then recorded back to the computer after messing with the tape speed. I really enjoy the whole songwriting and production process, especially experimenting with old and new technology.” MARCUS WYNWOOD

 

Originally a member of punk band Captives, Marcus has played with huge names throughout his career; such as Ian Moss, Shihad, The Damned, COG, Tumbleweed, 28 Days and The Sweet; and has played at festivals such as Falls Festival, Party In the Paddock and Macadam Festival (Quebec, Canada). He has had strong radio support from the likes of Triple M and Triple j over the years, and praise from tastemakers such as The AU Review, Hysteria and Happy Mag along the way. 

The next festival appearance for Marcus will be in early January 2025, when he joins the likes of Alex Lahey, Jack River and Josh Pyke at Good Gumnuts festival in Romaine, Tasmania.

PLAY/LISTEN

 

UPCOMING SHOWS

TICKETS

 

Saturday October 19 Penguin Beer Co Penguin TAS 

Saturday January 4-5 Good Gumnuts Festival Romaine TAS

 

PRAISE

 

“The EP is a collection of six songs featuring honest and artful songwriting, incredible guitars and precision production. These tunes have a ferocity and tautness, which skillfully convey all the feelings of growing and maturing, with passionate melodies and blistering guitars.”

THE AU REVIEW on ‘KILLERBITES’

 

“It’s layered vocal delivery, absolutely epic guitar work and fast paced vibe showcase Wynwood’s talent as a top shelf songwriter.” 

AAA BACKSTAGE

 

“Drenched in fiery vocals and razor sharp guitars, Simulation finds Wynward at his most cathartically aggressive, delivering an existential manifesto on quarrels of modern life.”

HAPPY MAG

 

“The songwriting is just so good, he’s turning into quite the songwriter.”

TRIPLE M 

 

“Certified Banger! One helluva heavy-hitter.” 

HYSTERIA MAG

 

‘Never Stood Out And Never Fit In’ is out October 17th 

Marcus Wynwood: Official Website | triple j Unearthed | Facebook | Instagram | YouTube

 

 

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Festival NewsMusic News

Spilt Milk House Party – Nov 16th – 24th, 2024

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written by the partae

This year, Spilt Milk is shaking things up by moving away from its traditional mega music festival format to introduce the more intimate Spilt Milk House Party. After canceling its long-standing festival in July 2024, the team is excited to present a curated lineup of talented artists set to perform across three states.

Headlining the event is Australia’s pop sensation Troye Sivan, who has been making waves with his latest hits, including “Rush” and “Got Me Started” from his album Something to Give Each Other. Fresh off his tour with Charli XCX, Sivan is hotter than ever.

Joining him on stage is the British indie-pop sensation Glass Animals, known for their chart-topping track “Heat Waves.” The band, who topped the Hottest 100 in 2020, shares a unique bond with Australia, as frontman Dave Bayley humorously revealed he even got a tattoo of the country on his body.

G Flip, the Melbourne-born artist who transitioned from drummer to singer and reality star, will also take the stage with fan favorites like “The Worst Person Alive” and “Be Your Man.” Adding to the lineup is UK artist Artemas, who has captivated audiences with his viral TikTok hits “i like the way you kiss me” and “if u think i’m pretty.” Additionally, Sycco, a talented First Nations singer-songwriter, will perform her hit “Dribble” along with tracks from her new album Zorb, a psychedelic pop offering.

TICKETS

Event Dates & Locations:

Perth: November 16 & 17 – Kings Park & Botanic Garden

Gold Coast: November 23 – Broadwater Parklands

Newcastle: November 24 – Newcastle Entertainment Centre

https://spilt-milk.com.au/

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Festival NewsMusic News

Pearl Jam Aus Tour – Support Acts Announced

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Pearl Jam Reveals Local Opening Acts for Anticipated Australian & New Zealand Tour

With the excitement building for Pearl Jam’s much-anticipated comeback in Australia, the legendary Seattle band has announced the local acts that will join them for their 2024 Dark Matter tour. In addition to Pearl Jam and special guests Pixies, the lineup features singer-songwriter Liam Finn, the rising rock band Teen Jesus And The Jean Teasers, and the iconic punk group Cosmic Psychos.

Liam Finn, now a full member of Crowded House, will open the Auckland shows on November 8 and 10 as part of their upcoming album Gravity Stairs.

Teen Jesus And The Jean Teasers will perform at the Gold Coast on November 13, followed by shows in Melbourne on November 18 and Sydney on November 23.

Cosmic Psychos will support the stadium shows in Melbourne on November 16 and Sydney on November 21.

The excitement was palpable when Teen Jesus And The Jean Teasers shared their thoughts on social media, declaring, “Get fucked, it doesn’t get more Eddie Vedder than this. See you in Gold Coast, Melbourne, and Sydney!”

This tour marks Pearl Jam’s first visit to Australia in ten years, following their last appearance at the Big Day Out in 2014. They are on the road to promote their 12th studio album, Dark Matter, which Mojo praised for its vibrant sound, likening it to “hitting like a triple espresso.”

Be sure to check out the complete itinerary for Pearl Jam’s Dark Matter World Tour, featuring Pixies, Liam Finn, Teen Jesus And The Jean Teasers, and Cosmic Psychos. Limited tickets are still available through Live Nation.

Pearl Jam Dark Matter World Tour Australia & New Zealand Schedule

Featuring special guests: Pixies, Liam Finn, Teen Jesus And The Jean Teasers+, and Cosmic Psychos#

Friday, November 8 – Go Media Stadium, Mt Smart*

Sunday, November 10 – Go Media Stadium, Mt Smart*

Wednesday, November 13 – People First Stadium, Gold Coast+

Saturday, November 16 – Marvel Stadium, Melbourne#

Monday, November 18 – Marvel Stadium, Melbourne+

Thursday, November 21 – Engie Stadium, Sydney#

Saturday, November 23 – Engie Stadium, Sydney+

 Tickets At Live Nation

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Music News

Strictly Live Launches DIY Band Management Toolkit

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Taking Control: Strictly Live’s DIY Band Management Toolkit Empowers Independent Aussie Artists

In an industry where independent artists are rising to prominence more than ever, Strictly Live, a Melbourne-based music agency, is launching a DIY Band Management Toolkit that promises to change the game for emerging bands. Spearheaded by Hayleigh Grima, Strictly Live has quickly become a household name in the local music scene, known for its artist-first approach to management, event curation, and PR strategies. Now, with the release of the DIY Band Management Toolkit, they’re taking it a step further by empowering artists to manage their own careers.

Why the Toolkit Matters

For many independent musicians, navigating the complexities of the music industry can be overwhelming. From registering their band as a business, securing bookings, managing press, and building a brand, there are countless tasks to juggle. Typically, artists would need a manager to handle these aspects, but not every band is ready to give up a percentage of their income or creative control. Enter Strictly Live’s DIY Toolkit—a comprehensive, step-by-step guide that demystifies the process and hands over the reins to the artists themselves.

With the DIY model thriving thanks to platforms like Spotify and Instagram, Strictly Live is addressing a need within the music community for resources that allow artists to take control. The toolkit includes 14 in-depth guides and 9 templates and checklists, covering everything from business setup to branding and PR, touring and gig planning, and even merch design and pricing. This is about helping bands build sustainable careers, one step at a time.

Inside the Toolkit

So, what exactly can artists expect from the toolkit? It’s a comprehensive, user-friendly resource designed to walk musicians through key areas that managers typically handle. Here’s what’s included:

• Setting Up as a Business: From APRA AMCOS registration to structuring royalties, bands learn how to get their business affairs in order.

• Branding & Social Media: Craft a brand that connects with your audience and learn how to master social platforms like Instagram and TikTok.

• Press & PR Mastery: Write press releases, pitch to media outlets, and secure airtime on radio stations like Triple J.

• Touring & Gigs: Plan and book your own tours, including how to build connections with venues and promoters, and how to market your gigs.

• Merchandising: Design, price, and sell your own merch—plus tips on third-party fulfilment services.

Each section is packed with industry insights and actionable advice, ensuring that musicians walk away with the tools they need to thrive in the ever-competitive music landscape.

A Mission to Empower Artists

Founded in October 2023, Strictly Live has grown from a grassroots agency to a key player in the Melbourne music scene. Hayleigh’s mission has always been clear: empower artists to take control of their careers while staying true to their artistic identity. “It’s not about changing who you are as an artist,” says Hayleigh. “It’s about helping you put together the pieces so that you can drive your own career forward.”

Having already worked with Melbourne acts like The Valiants and Charlie Wilde, and curating successful events like the Battle of the Bands, Strictly Live has earned its reputation as an artist-first agency. With the DIY Band Management Toolkit, they’re expanding that impact by providing a resource that can help musicians not just in Melbourne, but across Australia and beyond.

What’s Next for Strictly Live?

With the toolkit set to launch on October 15th, Strictly Live has big plans for the future. Hayleigh envisions this toolkit as just the beginning. “We want to make this toolkit accessible to as many artists as possible, and eventually expand into educational workshops and speaking engagements,” she says.

For now, though, the focus is on empowering as many bands as possible with the tools they need to build long-lasting, independent careers in music.

Get Your Hands on the Toolkit

Artists interested in the DIY Band Management Toolkit can sign up for early access ahead of the official launch. Whether you’re just starting out or looking to elevate your band’s success, this toolkit is an essential resource to help you take the next step.

For more information, visit Strictly Live or follow them on Instagram for updates.

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Festival NewsMusic News

BEN ABRAHAM announces Christmas shows in SYDNEY & MELBOURNE – December 2024

by the partae
written by the partae

Presale tickets available now

Frontier Touring is proud to present award-winning Melbourne-raised, Los Angeles-based singer/songwriter Ben Abraham, returning home this December for two exclusive headline shows in Sydney and Melbourne: Ben Abraham’s Christmas Special.

Joined by special guests on stage, fans can catch the in-demand songwriter performing at the Metro Theatre, Sydney, on Wednesday 18 December and Forum Melbourne on Friday 20 December with a captivating two and a half hour show.

Renowned for his talent for pairing profoundly personal lyrics with soulful and cinematic indie folk with electronic flourishes, as heard on tracks such as ‘Never Been Better’, ‘If I Didn’t Love You’, ‘This Is On Me – ft. Sara Bareilles’ and more, Ben’s annual Christmas shows are not to be missed. Starting the night with his full band performing original music, fans can expect an indie ‘carols by candlelight’ second set featuring a few special guests (past alumni including the likes of Vance Joy and Gotye).

Tickets will go on sale Wednesday 16 October (12pm AEDT) via frontiertouring.com/benabraham. Frontier Members can get early access via the Frontier Presale, which starts today: Monday 14 October (11am AEDT) – see website for details.

WATCH: Ben Abraham – “Never Been Better (Walk + Sing with Lily James)”

After years of working as a songwriter for other artists – including co-writing Kesha’s double-platinum, GRAMMY nominated smash hit ‘Praying’ – Abraham released his sophomore album, Friendly Fire, in 2022. Labelled “spectacular” by website Essentially Pop, the record captured Abraham’s journey of losing faith after a painful breakup. 2024 has been a year of new beginnings: newly independent, Ben is excited to be releasing new music… some of which fans may get to hear at these special shows.

Don’t miss the one and only Ben Abraham, when he returns home to Melbourne and Sydney this December!

BEN ABRAHAM
​DECEMBER 2024
​Presented by Frontier Touring

FRONTIER MEMBER PRESALE
​via frontiertouring.com/benabraham
​Runs 24 hours from: Monday 14 October (11am AEDT)
​or until presale allocation exhausted

TICKETS ON SALE
​Begins: Wednesday 16 October (12pm AEDT)

Wednesday 18 December
​Metro Theatre, Sydney, NSW
​18+
​ticketek.com.au

Friday 20 December
​Forum, Melbourne, VIC
​16+
​ticketek.com.au

Patrons are advised to purchase tickets only through authorised ticket sellers.

We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website.

FOLLOW BEN ABRAHAM:

Website | Facebook | Instagram | X | TikTok | YouTube | Spotify | Apple Music

 

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Music InterviewsMusic News

Interview: Flashmob’s Sundown: Freedom, Tension, and Evolution

by the partae
written by the partae

“Sundown” is described as a growling epic that merges deeper and melodic sides of electronic music. How do you approach blending contrasting sonic elements to create a cohesive yet dynamic track?

The approach I had on the whole album and specifically on Sundown was one that would allow me to feel free in putting together what I see that’s interesting in today’s scene, with all its colors and musical influences, without having to be as specific as I usually am when working on my signature sound.

For example, around 2000, I started buying my first MAW Records vinyls and really fell in love with the eclectic approach they had in putting together different but coherent styles of house music from various parts of America and Latin America. I really had the feeling they were free to do what they wanted; in modern days, the constriction of having to be very specific with one’s brand is a limitation at times, especially if you want to do an independent album. An album is an escape from those boundaries, and the fact it was written during Covid – a time when we didn’t know how long we would all be off the road for – helped me find that necessary freedom even more.

You mention that “Sundown” carries a message of hope and unity. What specific emotions or themes were you channeling during the production of this track?

Exactly! The realization that even if we are who we are, and we do what we do in life, we are always free to turn around and just say no or do things in a different way than expected. I was realizing whilst writing Sundown about how constrained I was in my loop with all the expectations; the level of intensive touring before Covid was out of control for me and took me to places I never want to visit again! During Covid, many of these themes emerged and many peers of mine started talking about these problems too, so I really felt hope in seeing the possibility of changing my future in a more controlled way of living, both in and out of music.

The creation of “Sundown” was born out of the stillness of the Covid pandemic. How did this period of enforced reflection influence the sound and direction of the entire album?

Stillness allowed me to think out of the box, out of my usual musical comfort zone, and to listen to music with plenty of time and attention. Not being in the usual frenetic loop that comes with touring – when sleep-deprived, one’s attention is much lower. It’s so different to be able to sit with music at home with all the time in the world like I did during Covid, being able to actually listen with great attention. I had forgotten how that felt, and I took great advantage of it to study and improve myself as a human, as a producer, and as a DJ. I felt that freedom more and more as time went by, and it was the key element that set the tone for the album. It gave me the confidence to merge and find new sweet spots between genres that I’d never reached before.

With “Sundown” being both a melodic track and a banger, what role does tension play in your music, and how do you balance it with moments of release and freedom?

Tension is essential for me in making music; it’s an erotic tension that if absent is a total turn off for me – both in writing tracks or playing them in a set. Sundown is full of passion and love and especially tension; the feeling of hope, of being able to start again, is at the core of this track. I rarely love a track of mine this much, but the meaning and feeling of this one makes me say with no doubt it’s one of my most significant Flashmob tracks.

You’ve spent over a decade in the electronic music industry. How does “Sundown” and the broader album reflect your evolution as an artist over the years?

It reflects my growth as a human first of all; I believe art is a mirror of whom we are inside, so the artistic growth is often a consequence of a personal one – at least in my case. I’ve dedicated lots of time to my family in these last few years, and now that my kids are older, I really wanted to get back on this horse with much more freedom. From the outside, people only see the success part, but many aspects of it are not perceived. I’ll tell you one thing: from the inside, real success is when you can live what’s actually happening in your life, and find the right balance in what is important to you. Having the luxury to control your time and use it only for what is vital for you. That’s something I didn’t have before Covid.

In that sense, I have evolved both as Sandro and as Flashmob.

You describe this album as an expression of breaking away from the competitive aspect of music. How has this shift in mindset affected your creative process and the music you produce?

I feel as if I am myself now. I’m not chasing anything anymore. And the funny thing is that I’ve started going back to what I used to love when I started. Music has become a medicine for me, and I’ve stopped making it a business-oriented tool; sure, business is there, but I have found my balance for what I really want to do whilst respecting my brand. The mental approach has changed completely for me, so I am much happier writing songs these days!

Given that “Sundown” was created without the constraints of genres or deadlines, how did that freedom impact the overall tone and experimentation within the album?

My wisdom was to put together all the things I love in electronic music in one single body of work, and I am happy and proud of what I did. There is my core raw house signature sound mixed with more melodic and percussive sounds that are totally new to me. Some tracks are also more radio-oriented or experimental club tracks that don’t really belong to an era or a particular genre, but that are just trying to be timeless. All of this I did imagining how I will feel about this music in ten years.

The primal energy and escapism in dance music are central to “Sundown.” How do you think this track connects with listeners on an emotional or even spiritual level?

I’ve played it and I’ve seen the reaction on people’s faces. But to be honest, I prefer the audience to comment on this – I know it’s coming from the right place, and so I am really sure it will end up generating the right emotions.

In your own words, “Sundown” represents your love for life and electronic music. What specific life experiences or moments during the album’s two-year creation process had the most significant influence on its sound?

The realization that there is no particular correct way of doing things – one can feel free to do as one wishes. We are free human beings with emotions and faults. I’ve lost the pressure of being judged. I had the time to realize better who I’ve become after twelve years of intensive touring (that translates to approximately nine hundred gigs around the world). Being able to sit in my garden for months in total silence in front of a fire with no plane to catch or deadline to meet changed my mindset and made me think of what life really means for me – what I want and how I intend to live the next ten years in this beautiful adventure called music.

“Sundown” seems to be a personal project that defies commercial expectations. How do you hope listeners will engage with the album, and what lasting message do you want them to take away from it?

I hope it will make them smile and maybe even cry. I really hope my album can help someone as much as making it has helped me. Thank you.


VINYL PREORDER

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Music InterviewsMusic News

Interview: Harry Hayes – Love, Creativity, and Global Stage

by the partae
written by the partae

Your latest single, ‘Baby,’ has generated a lot of buzz. Can you share the inspiration behind the track and what it means to you personally?

‘Baby’ was originally a set of chords that I loved, but struggled to flesh a full idea out of. I knew it had a lot of potential even though I couldn’t get it right. Sometimes when I’m in the beginning stages of writing, I’ll just write a bunch of different ideas and sections in sequence to each other. I kept doing exactly that for this track, and found when I listened to each idea beside each other, that it sort of formed the final arrangement of the track and gave me the inspiration to have the song build and build for three minutes. So funnily enough, the final version you hear kind of came about through a series of mistakes. 

This track feels special because it’s the first time I feel I really pushed myself creatively and the first time I feel as if I have completely captured the emotion I was trying to convey through the music, which is love in this case.

‘Baby’ has been supported by Caribou during his world tour, which is a huge deal. How does it feel knowing your music is being played on such a global stage?

I feel like I haven’t properly processed it at all, but all I feel is immense gratitude. Seeing videos of ‘Baby’ played at his shows, which have been sent to me by Caribou himself, as well as complete strangers, really helps me comprehend the madness of it all. 

You’ve described ‘Baby’ as a love song that captures the full range of emotions in a relationship. How did you go about translating those feelings into the music?

I think this is something that actually can’t be described. When I’m writing songs like ‘Baby’ I am acting on total instinct, and the emotions can often present themselves effortlessly. I think these emotions easily seep into my music based on the different forms of love I experience in my life. 

With the upcoming Australian tour supporting Caribou, what are you most excited about for those shows? Any particular venue or city you’re looking forward to playing in?

I think for all artists, performing in your home city, and in such an iconic venue like the Enmore theatre, is such a dream come true. The idea of my friends and family being a part of this makes me so excited, and equally nervous. Also, Caribou has always been a musical idol of mine, and to say I am supporting him on this tour feels absolutely beyond surreal. 

Your music blends pop melodies with club-ready beats. How do you approach balancing these elements to create tracks that work both on the dancefloor and for personal listening?

There is such a hidden and underappreciated beauty and emotion in pop song writing. Those types of chords and melodies inspire me the most and I often find myself naturally drawing inspiration from this in my song writing. On the other hand, I am equally just as inspired by club beats, especially the drums, rhythms, and tempos that drive these tracks. I am constantly finding ways to incorporate a balance between both, because that’s where I feel I exist musically. 

You’ve had great success with your previous singles and now ‘Baby.’ How do you keep pushing yourself creatively with each new release?

‘Baby’ has certainly become a benchmark for me. I feel as if this is a song that I’ve been trying to create for ages, and it feels like it has the pinnacle elements of the music I want to create. So now it feels like I have a permanent reference track moving forward, something to look to when trying to push myself creatively. 

The single launch for ‘Baby’ is coming up at LOVE CLVB. What can fans expect from that show, and how are you preparing for it?

I think this will be an exciting opportunity to showcase both my own music as well as songs I am currently obsessed with, in a space that feels safe and on board. I am always preparing, because I find a lot of joy in curating and finding music to showcase my tastes. Fans can expect some staples in my sets, current favourites and maybe even some new unreleased music. 

You’ve already worked on some notable remixes, including Caribou’s ‘Broke My Heart.’ How does remixing differ from creating your own music, and do you have any more remixes in the works?

Yes I do have a remix in the works as of quite recently! I love remixes, I often like to work from a ‘source’ to begin with, whether that be a sample, a drum beat, vocals etc. so remixing feels quite natural to me as you have a bunch of stems to help start an idea. I really love recontextualising things harmonically which you can do right away when remixing something. 

With your growing recognition, especially on platforms like triple j, how has the support from tastemakers and fans impacted your career so far?

I think the support from tastemakers and fans has made me realise that there might be an audience for my music out there, which was a big worry of mine when I first started making and releasing music. So far, the support from tastemakers in particular has given me a tight solid group of people who are always supporting me and my music. A solid group of names who I see pop up all the time, which is amazing. 

Looking ahead, what can we expect from your upcoming projects after ‘Baby’? Are there any new collaborations or releases we should keep an ear out for?

The stuff I’ve been writing lately has been weird and different, I feel like I always want to push my sound and release music that crosses all types of sounds, feels and genres even. So maybe some of those tunes could see the light of day soon! Other than that, my release schedule is looking pretty healthy leading into the new year. I do have a collaboration coming out soon with a fellow producer. They might also have some ties to Caribou as well..

INSTAGRAM | SOUNDCLOUD | TIKTOK | SPOTIFY | APPLE MUSIC | BANDCAMP

 

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Festival NewsMusic News

TELETECH Australia: Azyr, Vendex, Jazzy & More!

by the partae
written by the partae

TELETECH AUSTRALIA 004 — JAN / FEB 2025

AZYR

EMMA MOON
JAZZY*

VENDEX

MELBOURNE/ NAARM – PICA – FRI.31.JAN

SYDNEY/EORA – CARRIAGEWORKS – SAT.01.FEB

PERTH/BOORLOO  – METRO CITY  – FRI.07.FEB

*Jazzy performing in SYD / MELB only

PRE-SALE: TUE 15 OCT – 9:00AM AEDT

GENERAL ON-SALE: WED 16 OCT – 9:00 AM AEDT

For presale access sign up now via Teletechevents.au

AZYR

Azyr is a North West England-based DJ and producer making a global impact with his hard-hitting techno sound, blending sub-genres like Acid, Schranz, Rave, Hard Dance, and Psytrance. Known for his energetic, relentless performances, he has gained recognition since 2021 with major debuts across the UK and secured festival and Boiler Room bookings. Supported by top names in the techno scene, Azyr aims to take his unique underground sound to international stages, with his first overseas debut in Paris.

VENDEX

Vendex is a multidisciplinary artist blending music, literature, cinematic language, multimedia arts, and performance. As a rising hard-techno DJ and producer, he’s highly regarded in the global electronic scene. Vendex leads VALKHØR, a record label and event brand, and his live performances and productions tell epic, immersive stories that transport listeners to captivating alternate worlds.

JAZZY

Jazzy is a self-taught DJ and producer hailing from the stunning city of Zurich, Switzerland. Her music journey began with the release of Discobenzin, which marked the beginning of a thrilling and exhilarating career. Over time, she developed a passion for industrial techno, characterized by heavy kicks and literal hammers. Her sets are known for putting people in ecstasy, thanks to her raging energy and aggressive vibe. Jazzy is a true force of nature, a talented artist who brings a fresh perspective to the world of electronic music. Her music is nothing short of epic, and her performances are a truly unforgettable experience.

EMMA MOON

Emma Moon is a selector who has carved out a strong yet adaptable presence as a mainstay within Naarm/Melbourne’s dedicated dance music community. With a musical ethos embedded in elevation, Emma’s bouncy selections encompass a notable love for old-school and new wave hard house, as well as uplifting sub-genres of hard trance and rave-inspired techno.

For more info on AZYR, visit:

INSTAGRAM | TIKTOK | SOUNDCLOUD | SPOTIFY

For more info on VENDEX, visit:

INSTAGRAM | TIKTOK | SOUNDCLOUD | SPOTIFY

For more info on JAZZY, visit:

INSTAGRAM | TIKTOK | SOUNDCLOUD

For more info on Emma Moon. visit:

INSTAGRAM | SOUNDCLOUD

For more info on Teletech, visit:

INSTAGRAM | TIKTOK | FACEBOOK | WEBSITE (AU) | WEBSITE (UK)

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Festival NewsMusic News

LIMITED I HATE MODELS TICKETS ADDED

by the partae
written by the partae
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Music InterviewsMusic News

Interview – Great Gable: Nostalgia, Authenticity, and Evolution

by the partae
written by the partae

Photo credit: Charlie Hardy

Small Fry reflects a lot of your experiences growing up in Western Australia. How did your time at Blackbird Studios in Perth influence the album’s sound and vibe compared to your previous recordings?

Blackbird was 10 minutes down the road, so we were in WA the whole time we recorded the album. Previous albums were done in one large block on the East coast, but this one we got to go home in between sessions. Also, it was the middle of Summer, so we got to spend time at the beach too, which made it a much more relaxed process.
Your single “You Shall Not Pass” showcases a unique, raw vocal style.

How did leaning into the Aussie accent and Paul Kelly-inspired rambles shape the overall narrative of the song?

Paul Kelly has always been a massive inspiration for me, and like any song we write – we follow our gut, and if it feels right, it feels right. That’s the way I decided to sing it on the day, and I’m proud to have a bit of a twang.
In “You Shall Not Pass,” you mention the lyrics flowed naturally while playing chords.

Do you often find this spontaneous writing process works best for you, or do you usually prefer more structured lyric development?

I always keep the songwriting process spontaneous, especially the lyrics. If I get asked what lyrics mean, sometimes I can be really specific, and sometimes I don’t have a clue.
You’ve described the album as a blend of nostalgia and sentimentality.

What specific memories or emotions from growing up in WA influenced tracks like ‘Best Friend’ and ‘Hometown’?

With age, I’m definitely becoming more nostalgic. Working that into songwriting means that I can romanticize what kind of upbringing I had in the South West of WA. Best Friend is a love song, but it feels like anyone can relate to it. Hometown feels like an ode to anyone that has grown up in a small town.

Your upcoming album release shows and 2025 Australian headline tour will see you performing in iconic venues like Oxford Art Factory and Rosemount Hotel. How do you adapt your performances to different spaces, from intimate venues to larger festival stages?

The goal we always strive to achieve is to have fun, and adapting is just a part of gigging around. We love playing both intimate and larger shows.

Following your 2023 EP Read the Room and your extensive touring in the UK and Europe, how has the international exposure influenced your approach to songwriting and performing for your new album?

Touring comes with its challenges, but at the moment, the band sounds as good as we have for a while because of the amount of shows we’ve been playing. We’re grateful that people are coming to the gigs in other countries, and it’s epic to see the world in such a cool way – which is great for inspiration.

You’ve drawn inspiration from a variety of artists like Jack Johnson and Bon Iver. How have those early influences evolved over time as you’ve developed your unique sound on albums like On The Wall In The Morning Light and now Small Fry?

All of the artists that we’ve listed as inspirations over the years will always be there, and there are still moments on Small Fry that remind me of Bon Iver and Jack Johnson.

The singles from Small Fry, such as ‘Think Again Motherf*cker’ and ‘Fine Wine,’ demonstrate a range of emotions. How do you balance creating music for both introspective moments and more energetic, rowdy occasions?

“Think Again Motherfcker” is a song that I wrote, and “Fine Wine” is a song that Matt (our guitarist) wrote. Two different people with two different sets of emotions.*

You’ve had the chance to work with Dave Parkin on this album, who’s also worked with bands like Spacey Jane. What was his biggest contribution to maintaining the “original vibes” of your demos while elevating the final recordings?

Dave was keen on keeping some takes that I’d recorded on the demos in the final tracks, and he had a good understanding of what sound we were after. The idea was to keep things simple, and sound like 4 people in a room playing a song.

As a band that’s gone from university jams to sold-out headline tours, what advice would you give to emerging indie-rock artists looking to establish themselves both locally and internationally?

Stay optimistic, write lots, gig hard, and have fun!

LISTEN/PLAY

SMALL FRY ALBUM RELEASE WEEK SHOWS

Friday 11 October – La La La’s, Wollongong *
​Sunday 13 October – Stag & Hunter, Newcastle *
​Tuesday 15 October – Leadbeater, Melbourne *
​Wednesday 16 October – Mary’s Underground, Sydney *
​Saturday 19 October – Stone Fest at UC Hub, Canberra ^
​* Album launch show
​^ Festival show

GREAT GABLE 2025 HEADLINE AUSTRALIAN TOUR

Friday 7 March – The Brightside – Brisbane QLD
​Saturday 8 March – Solbar – Sunshine Coast QLD
​Friday 14 March – Oxford Art Factory – Sydney NSW
​Saturday 15 March – The Corner Hotel – Melbourne VIC
​Friday 21 March – Rosemount Hotel – Perth WA
​Full ticketing details HERE

CONNECT WITH GREAT GABLE:

OFFICIAL WEBSITE | TIKTOK | FACEBOOK | X | INSTAGRAM

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