FRENCH ELECTRONIC DUO JERSEY ANNOUNCE PLEASE, DON’T BREAK OUR NEW SYNTHS
AUSTRALIAN TOUR
PLAYING BEYOND THE VALLEY (VIC), FIELD DAY (NSW)
+ BRISBANE HEADLINE SHOW
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TRACKLIST
1. In The Shadow
2. Over & Over
3. Giant Cotton Balls
4. Ghost Of What Could Be
5. I Need For Speed
6. Colors Turn Grey
Stay connected with Jersey:
23 Profile | Instagram | TikTok | YouTube
Photography: Aiden Parker
Your new single “Never Left The Ground” leans heavily into indie-folk influences. What inspired the shift from your punk rock roots to this more introspective, lo-fi sound?
It feels like I’ve come around in a complete circle. My very first release was an acoustic solo EP of songs just with my acoustic guitar and vocals. It was DIY, and a bit folk/punk inspired. A couple of years after that, I formed “Captives” with some guys I’d been jamming with, and then it was full on punk-rock party time. After spending about a decade writing and touring with Captives, I went back to do my solo thing. So that vibe has always been there. Having said that, I do feel like when I’m writing a song, the song tells me where it wants to go. Some musicians set out to create a rock album, or a punk album, or a pop album, or whatever, but I just let the song guide me as to what it wants, and I do that. That’s probably why the EP has a mix of styles on it.
You’ve mentioned artists like Frank Turner and Neutral Milk Hotel as influences for this single. How did their music shape the songwriting and production process for “Never Left The Ground”?
I really like the energy of the solo punk rocker with an acoustic guitar. There is something powerful in just getting up there with your guitar and something to say. Along those lines, I have been enjoying Jon Toogood’s new solo album. I got to spend a short amount of time with Jon when Captives supported Shihad a couple of times, so that was kinda special. The whole folk/punk vibe wasn’t deliberate, it’s just where I ended up, my natural state I guess – but I like it, and it’s working, so I’m looking forward to leaning into it more. In terms of production, I tried for strummy guitars, a hidden synth buried in the mix, and of course an amazing trumpet solo!
Andrew Sulzberger’s trumpet work adds a unique melodic element to the track. How did that collaboration come about, and what made you decide to incorporate the trumpet instead of a guitar solo?
When I was writing “Never Left the Ground” I created some space where (being the guitar nerd I am) I thought the obvious thing to do would be to play a guitar solo… however, it just didn’t sit right in the song. The song didn’t want it. Tracks like “For No One” by The Beatles and “Aeroplane Over the Sea” by Neutral Milk Hotel use French horns and cornets and I thought something like that might work. One of my favorite Tassie bands (and mates) The Bad Dad Orchestra happen to have an absolutely kick arse horn section, so I reached out to those guys and Andrew Sulzberger was keen to get involved. He is an incredible musician, and absolutely nailed it.
Thematically, “Never Left the Ground” reflects on escapism and imposter syndrome. How do these concepts tie into your personal experiences, and what message do you hope listeners take away from the song?
I think everyone at some point has felt like they don’t belong, or they are not good enough. This feeling isn’t inherently good or bad, because it can help us grow – but if it becomes overwhelming it can hold us back. I feel like musicians and other artists might suffer from imposter syndrome a lot, because producing creative output can feel like you’re giving a part of yourself away or exposing some part of you for others to judge. Sometimes it can feel like you’ve done all this cool stuff, but you’ve never really found your place or people don’t acknowledge you. The song “Never Left the Ground” can be interpreted as a positive spin on this concept, or a negative one – it all depends on the listeners point of view. Just as there are two ways to interpret this sentence: “I could do anything, and no one cares”, and that’s the point.
Recording and mixing the single yourself is no small feat. What were some of the challenges you faced in the studio while creating “Never Left The Ground” and the “Never Stood Out and Never Fit In” EP?
I’m lucky enough to have a small studio setup in a spare room in my house. I’ve been building it up to the point where I’m now recording other bands and artists. I really love spending time in that room. There is a difference between recording and producing someone else compared to doing it all yourself though. Being the engineer, producer, and musician means that I really need to trust my vision as there isn’t anyone else to bounce ideas off. Oh, and there’s the whole “press record and sprint to the drumkit before the song starts” thing too. I like old analogue gear and messing around, so on this EP I used an old 1970s four-track reel-to-reel tape machine and my old Tascam cassette four-track recorder. I spent hours cutting tape with a razor blade making tape loops that were just the right length. I find mixing a challenge, because I want the production to be as good as a “real” song – that imposter syndrome creeps in again.
Your EP “Never Stood Out and Never Fit In” seems to touch on feelings of isolation and self-acceptance. How do the other tracks on the EP expand on these themes?
Each song talks about these themes in their own way. For example, “Disjointed Digitalised” talks about how you don’t want to go outside because all your thoughts and dreams are becoming increasingly digitalised and dehumanised. This is a reference to things like AI or the invasive nature of social media. Other songs such as “Out of Nothing” explore the idea of making something out of yourself and all the choices we make in life. I’m a pretty positive and optimistic person, and that’s the lens I view them through, but all these songs can be interpreted as a positive or negative depending on the listeners perspective.
The music video for “Never Left The Ground” features imagery of building wings and attempting to fly. Can you tell us more about the creative process behind the video and what that imagery represents to you?
I really wanted people to find their own meaning in this one, but to me the wings represent your skills, abilities, virtues, and everything you are as a person. The wings are pieced together out of cardboard, ripped garbage bags, and sticky tape to represent how no one is perfect and we’re all just doing the best with what we are given. The wings are carefully put together throughout the video until the time comes to take the leap and see if they can really fly. We never really find out.
You’ve performed with major acts like Ian Moss, The Damned, and Shihad, and played at festivals like Falls Festival and Party in the Paddock. How have these experiences shaped you as an artist, and how do they influence your approach to your solo work?
Every single performance is a learning experience. I’ve played sold out shows in big venues, and I’ve played my fair share of shows to nobody in small pubs too – but there is always something you can learn to help improve your craft. It could be how to deal with drunken hecklers, or how to effectively communicate with an audience. As a solo artist, I enjoy having the opportunity to build a rapport and a relationship with the audience, it makes the shows so much more rewarding and memorable for both parties.
As a Tasmanian artist, how does your hometown of Penguin, Tasmania, influence your music and the stories you tell through your songs?
Living in Tasmania can be seen as a blessing or a curse. I see it as a blessing. Penguin is obviously the best town in the world. We have beautiful beaches, a giant penguin in the main street, and we’re 2 minutes away from the forests of the Dial Range Reserve. I’m not really an outdoors kind of person, but it’s just nice being surrounded by nature. I don’t feel that it influences my songwriting, but as someone else looking in, maybe it does.
With “Never Stood Out and Never Fit In” just released, what are your hopes for how this EP will resonate with fans, both old and new, especially given the personal nature of these songs?
I hope people can listen to the entire EP from start to finish and find their own meaning in it all. There is something for everyone, acoustic ballads through to some loud punk. This one is for everyone who has ever felt like they have never fit in. You do.
Marcus Wynwood
Official Website | triple j Unearthed | Facebook | Instagram | YouTube
What inspired you to create your new single “Bella”? Can you share more about the personal connection to your family’s history?
Bella was my cousin, the daughter of Henry Tatar, my grandfather’s brother. I discovered our relationship while reading the book We Were The Lucky Ones by Georgia Hunter.
How did discovering your connection to the characters in We Were The Lucky Ones influence the composition of “Bella”?
The inspiration simply came naturally to me, as I was moved by the story of the Kurk family and their fight for survival during World War II in Nazi-occupied Poland. Bella had married into the family and became a main character in the book.
Can you walk us through the process of composing this piece? What emotions did you want to capture?
My process is quite simple. I picked up my guitar to musically express my thoughts and just started exploring my feelings on the instrument. The emotions that I was hoping to capture were inspired by Bella’s will to survive and the determination that kept her moving forward while experiencing such challenging circumstances.
“Bella” features several accomplished musicians. How did you decide who to collaborate with, and what did they bring to the track?
I am fortunate to work with some excellent musicians at Imaginary Road Studios and am certainly familiar with their talents. Premik Russell Tubbs has a magic touch on Soprano Sax, and I felt he was the right choice for the melody line, while Tom Eaton on Bass and Jeff Haynes on Percussion were solid choices to carry the rhythm throughout the composition.
Your music is described as meditative and healing. How do you approach creating music with this kind of emotional impact?
I simply play what I feel. There is no structure or process, in fact, it is quite the opposite. I consider myself a conduit for what emotions already exist and try to express them through my hands.
How does your work with legendary musicians like David Darling and Will Ackerman continue to influence your music today?
I consider myself lucky to have worked with both David and Will, and to have learned from each of them. Studying with and being mentored by David Darling offered me the opportunity to explore my creative process, ultimately leading me to recognize and honor my true musical self. Will Ackerman gave insight into the importance of the studio, both with recording and also embellishing the final piece through adding instrumentation (along with Tom Eaton as studio engineer), which always provides the “frosting on the cake” for my compositions.
Many of your pieces are rooted in deep emotion and personal stories. How do you balance that with creating music that resonates universally with your listeners?
There is no need to balance this. The music comes from my pure expression of those deep emotions, without any filter. This gives me the ability to offer music that is pure and genuine.
What role does improvisation play in your compositions, and how did it shape “Bella”?
I am definitely an improviser with everything I play. Exploring emotions and putting them into sound is how I compose.
Your music is featured in hospitals and hospices around the world. What does it mean to you to know your work is part of such peaceful and healing environments?
This is definitely the most rewarding aspect of being a composer. I have received so many touching stories from people who have benefitted from my music while going through some of life’s most challenging situations.
Looking ahead, what new projects or musical directions are you excited to explore?
The music will always show me the way. When it is ready for a new direction, I will know.
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After a triumphant year and a historic Juno Award win, Punjabi sensation Karan Aujla is set to return to Australia and New Zealand this October – his first visit since his 2022 debut.
Known for his chart-topping hits and magnetic stage presence, Aujla will bring his ‘It Was All A Dream’ world tour to Australian and New Zealand fans, delivering an unforgettable experience.
Karan Aujla has rapidly ascended to global stardom, with his latest album ‘Making Memories‘ surpassing one billion streams and securing a spot on the Global Digital Artist List at #38. His collaboration with DIVINE on ‘Street Dreams’ dominated charts worldwide, showcasing versatility and widespread appeal. Following his standout performance at the Juno Awards and winning the Fan Choice Award, Aujla is ready to captivate audiences across Australia and New Zealand.
Australian and New Zealand fans will be treated to Aujla’s signature blend of Punjabi folk and contemporary sounds across Melbourne, Sydney, and Auckland. This tour marks a significant milestone in Aujla’s career, highlighting his journey from a small village in Punjab to the global stage.
Aujla’s fans can expect a dynamic and electrifying performance, filled with hits from his extensive catalogue, including tracks from his debut album ‘BacTHAfuKUP (B.T.F.U.)’ and his latest release ‘Making Memories’.
Karan Aujla, a powerhouse of Punjabi music, has captured hearts worldwide with his heartfelt lyrics and captivating performances. Relocating to Canada in 2014, he began writing chart-topping hits for leading artists, culminating in his own successful solo career. His debut album ‘BacTHAfuKUP (B.T.F.U.)’ solidified his status as a global ambassador of Punjabi music, with over 100 million streams.
With 3 billion views on YouTube, Aujla’s music resonates with fans across the globe. His latest album ‘Making Memories’ and collaborations with artists like DIVINE and YG have further cemented his place.
KARAN AUJLA AUSTRALIAN TOUR
Friday, October 25th Qudos Bank Arena Sydney
Sunday, October 27th Rod Laver Arena Mebourne
Wednesday, October 30th Spark Arena Auckland
PRAISE
“An innovative new wave of diasporic artists is blurring boundaries between genres and setting chart records. They’re blending traditional and contemporary sounds to create something undeniably their own — and it’s spreading worldwide.”
RollingStone
“the latest sign of the Punjabi-Canadian star’s meteoric rise.”
Billboard
KARAN AUJLA: Website | Facebook | Instagram | X | TikTok | YouTube
TANNER ADELL RELEASES SUMMER ANTHEM AHEAD OF HER PERFORMANCE AT RIDIN’ HEARTS FESTIVAL – SYDNEY AND MELBOURNE
Tanner Adell is here to unapologetically pave her own lane in Country music and reclaim the power back for the girls!
Fans and industry heavyweights continue to discover and rave about U.S country artist Tanner Adell. With her unique style and exceptional talent, Tanner has been recognised through her Buckle Bunny mixtape, a first-of-its-kind in the Country genre where she earned praise from the likes of The New York Times, NPR, Billboard, MusicRow and recently featured on the cover of Nashville Lifestyles magazine following her viral success. Tanner’s ever growing social media platforms have reached over 2 million followers globally.
In 2024 Tanner continues to excel, collaborating with Beyoncé and featuring on the single, Blackbiird from the acclaimed Cowboy Carter album. Her song, Too Easy has been featured on the blockbuster movie, Twisters, and she has graced the stages at some of the biggest domestic and international festivals including Faster Horses and Golden Sky, already checking off C2C, Stagecoach and Hangout Festival.
Ahead of her highly anticipated performance at the Ridin’ Hearts Festival in Sydney and Melbourne this November, Tanner continues to keep fans on the edge of their seat, pushing the genre boundaries yet again in the forthcoming pop-infused get-over-you anthem, “Whiskey Blues,” and her latest summer bop “Cowboy Break My Heart,” which has been added to Australian radio this week.
Tanner was brought up between the coast of Manhattan Beach, California and the rustic charm of Star Valley, Wyoming, the songstress lived a free-spirited childhood in the country, complete with cowboy boots and rodeos. Weaving the tales of her upbringing through her musical storytelling, Tanner’s lyricism keeps its roots in Country while infusing an addictive blend of pop vocals and hip-hop beats. Tanner spills out energetic tunes and honest ballads that draw upon her personal narrative as a biracial woman embracing the truest version of herself.
Tanner made her TV performance debut on the Jennifer Hudson Show earlier this year and most recently performed on the 2024 BET Awards. The rising star promises to keep reimagining music with unbridled innovation while making her mark on Music City and beyond.
Tasmania’s legendary Party in the Paddock (PITP) is gearing up for an epic 2025 return, running from February 6th to 9th at Quercus Park by the scenic Liffey River in Lutruwita/Tasmania. What started as a grassroots local event has now exploded into the island’s biggest multi-day camping festival, and this year promises to be one for the books.
Headlining the weekend are none other than the iconic Empire of the Sun and the ethereal AURORA, with a mystery Secret Headliner guaranteed to bring serious energy. Joining them on stage are punk rock disruptors Amyl & The Sniffers, American pop sensation Role Model, and beloved Aussie singer-songwriter Angie McMahon.
The lineup doesn’t end there—festival-goers can also catch performances from Still Woozy, Thelma Plum, King Stingray, Slowly Slowly, Allday, and loads more.
Beyond the music, PITP offers a full-on experience with jaw-dropping art installations, live podcasts, comedy shows, drag performances, bustling pop-up markets, and interactive experiences spread across six vibrant stages.
If you’re craving a weekend of unforgettable music and nonstop adventure, Party in the Paddock 2025 is where the magic happens!
PARTY IN THE PADDOCK 2025
6th – 9th 2025 February
Quercus Park, 15 minutes from Launceston, Tasmania.
EMPIRE OF THE SUN, AURORA (NOR)
‘SECRET HEADLINER’
AMYL & THE SNIFFERS ANGIE MCMAHON ROLE MODEL (USA) STILL WOOZY (USA), ‘SECRET ACT’ (UK), THE RUBENS , THELMA PLUM, KING STINGRAY, SLOWLY SLOWLY, THE DREGGS, ALLDAY, SAM ALFRED, WILLARIS. K, TEEN JESUS & THE JEAN TEASERS, MEDIUM BUILD (USA),
KiNG MALA (USA), DICE, MILDLIFE, BABE RAINBOW, BOO SEEKA, SYCCO, KOBIE DEE, MO’JU, RUBY FIELDS DJ SET, SUMNER DJs, FLOODLIGHTS, FULL FLOWER MOON BAND, THE SOUTHERN RIVER BAND, A. SWAYZE & THE GHOSTS, RA RA VIPER, JEROME FARAH, PARTY DOZEN, PLAY LUNCH, THE BEEFS, MINCY, CHLOE DADD, LATIFA TEE, IN2STELLAR, LO’99, BLUSHER, THE VOVOS, VELVET TRIP, RADIO FREE ALICE, SEASIDE, QUEENIE, LUCILLE CROFT, COOL OUT SUN, DEVAURA, LARGE MIRAGE, SURELY SHIRLEY, JET CITY SPORTS CLUB, HOLiDAY MYSTICS, ANT ENOCH, LASKA DRY, GRACE CHIA, GŸPS & SPICE, LEGAL NOISE, BOCCE, WÖØLWORTHS\\FLUSHOT, TAI HARLII, POWDER KEG, B. RAYMOND & THE GOLD TONES, THE EMBERS, EVANGELO, ZAC HENDERSON, ALEC SMITH, エミエミ (emi emi), BAZ & GROM, DONNA HAYZE,RUPERT BULLARD, GLITCH CRAFT,BALTIMÖRE CHARLÓT,ELIZA BIRD,MORALITY TROPE,BACKYARD BUSINESS,SPOOKY EYES,MONNY,PRINCESS DRIP,BAKER, ROSETNTD,TOMMA, RiVaLu & Many More
Acclaimed pianist and composer Neil Patton returns with his latest solo piano album, The Small Hours, set to release on October 18, 2024. This captivating collection features 15 tracks, each serving as a musical narrative inspired by the quiet and contemplative nature of nighttime across the globe. Composed during the challenging months of pandemic lockdowns, Patton’s work offers a sense of solace and peace, intentionally crafted in a more introspective style.
Tracks like Day’s End, A Room with a View, and The Moon and Sun Dance bring to life the emotional landscapes of the night, while Nightwalk incorporates the ancient hymn Be Thou My Vision, adding a timeless spiritual layer to the album. Recorded at Deep Heaven Music in Eugene, Oregon, The Small Hours reflects Patton’s mastery of blending Classical, Folk, and Rock influences into a seamless solo piano experience.
Renowned for his meticulous composition and emotive performances, Patton’s music has consistently touched listeners worldwide. His past albums have garnered critical acclaim, including Between Shadow and Light and Holy Ground, both of which earned prestigious awards. The Small Hours continues in this tradition, inviting listeners to explore the tranquility of the night through the lens of Patton’s evocative piano pieces. Available for purchase at neilpatton.net.
One night, many stories. These are musical narratives of the nighttime hours as they are experienced the world over. Spawned largely during the stressful months of pandemic shutdowns and social turmoil, these pieces were a source of solace and peace as Neil intentionally composed in a quieter vein.
Track Listing
Day’s End [4:55]
We Will Tell the Stories [3:46]
Goodnight Daddy [3:10]
Good to See You Again [5:09]
Above the Treetops [3:54]
A Room with a View [5:20]
Falling Up [4:53]
The Moon and Sun Dance [3:27]
A Prayer in the Darkness [4:05]
The Small Hours [3:40]
Trust [5:34]
Shame and Grace [4:23]
This Grief Lies Down Beside Me [4:36]
Nightwalk – Be Thou My Vision [5:28]
Daybreak [7:13]
Connect with Neil Patton:
Instagram: @neilpatton
Facebook: Neil Patton Music
Twitter: @NeilPattonMusic
YouTube: Neil Patton Music
Threads: @neilpatton
How did you first get started in music, and what inspired you to pursue a career as a singer-songwriter?
Music has always been an integral part of my life, at times, more so than others, and I found myself always coming back to it. I’ve always had the goal to make a career out of doing what I love and that for me is music and the arts. At first it was scary, especially putting my lyrics, my inner-most thoughts, out there for the world. Then I realised that human-condition is so universal and the whole purpose of music is to share in these experiences; to realise you’re not going through it alone.
Collaborating with Melbourne DJ JPA has been a key part of your career. How did that partnership come about, and how has it influenced your musical style?
JPA reached out to me after he heard one of the covers I posted online and really liked the sound of my voice. He wanted me to feature on one of his upcoming tracks. A snowball of opportunities followed and I’m still just riding that wave. I don’t plan to get off anytime soon!
You’ve already had significant chart success with tracks like “Beautiful Liar” and “Hold Me.” What do you consider your biggest achievement in music so far?
One of them would’ve had to be when DJ Hernan Cattaneo played our song “Hold Me” at his set at Sunset Mendoza in Argentina. Watching thousands of people dance to the lyrics I wrote and sung was incredible. I also really loved shooting the film clip for my new song “Relapse”. I worked with an amazing film director (Freddy McHenry) and was able to combine my two loves- singing and acting to create something that feels unique to me (search “Lauren Tatyana-Relapse” on YouTube to watch).
Your music blends R&B, Soul, and Jazz. How did you develop your unique sound, and what influences helped shape your artistry?
I come from a choir background, have always loved R&B and am inspired by many different genres which all inform my music. My biggest influences are Jorja Smith, Alicia Keys, Rihanna, Amy Winehouse and Lauryn Hill. I’m regularly told that my voice doesn’t match my body which I love and am happy to be unpredictable. In a world where it’s encouraged to fit in, music allows me to just be.
Can you tell us more about the inspiration behind your latest single, “Relapse”? What message or story were you aiming to convey through this track?
Relapse is a super fun song for me and I loved writing it. At it’s core, it’s about knowing you shouldn’t do something but wanting to anyway, which only makes it more appealing. This is a daily struggle for me haha.
The music video for “Relapse” promises to enhance the song’s narrative. How involved were you in the creative direction of the video, and what can fans expect from it?
I was very involved! We didn’t have a huge budget or creative team, so a lot of those decisions were up to me. It scared me at first but forced me to trust myself and my ideas. I worked with an amazing videographer and director- Freddy McHenry, who supported my vision and helped deliver the narrative in a way that captivated the audience. The video is colourful and lively, with throws to a 70s inspired wardrobe and backdrop at the beautiful Ovollo Hotel in South Yarra.
Looking ahead, what are your main goals for your career? Are there any specific milestones or collaborations you’re aiming to achieve?
I’d love to do an international tour of all my own music. A collaboration with someone like Jorja Smith would also be amazing…or feature on Rihanna’s next album 😉
2024 is shaping up to be a big year for you, with a series of new releases planned. Can you give us a sneak peek into what we can expect from your upcoming music?
I’ve already started working on some awesome collaborations with international artists and currently play a lot of live music. I want to keep doing this but on a much larger scale. The last 12 months has been a lot about experimenting with my music, trialling different styles and genres and finding what resonates with me. The next few releases will hopefully tie this all together and produce a sound that that portrays the essence of Lauren Tatyana.
How has performing live in Melbourne’s prestigious venues influenced your growth as an artist, and do you have any upcoming shows or tours planned?
Performing so regularly has allowed me to trial my music with an audience and see what works and what doesn’t. It’s easy to get caught up in your own world when you’re creating something in a studio but performing live reminds me why I’m doing it. I have many upcoming shows! Best way is to go my website at www.laurentatyana.com for the full list.
As someone whose music has caught the attention of renowned DJs like Hernán Cattáneo, how do you balance creating music for both live performances and studio releases?
It’s busy! My weekends and evenings are usually filled with performances and then weekdays I’m often in the studio or rehearsing. The best part is when the two worlds combine and I get to hear what I’ve created in the studio performed live with a band. I’m so privileged to work with some amazing musicians who I trust to add their own flourishes and creative spin to the music so it’s fresh and has a different sound each time. And it makes it exciting for me!
Slot Machine is such a vivid portrayal of modern digital addiction. What was the inspiration behind this track, and how did you come up with the idea of comparing our phones to a slot machine?
The first and only time I heard the analogy of slot machines being compared to phones was while watching The Social Dilemma on Netflix. When you use a slot machine, you never know when you’ll hit the next jackpot. The same applies to scrolling on social media: you never know when the next funny or interesting post will appear. So, you keep scrolling, hoping for that next rewarding moment to pop up on your screen. That’s why it’s so addictive—our brains crave those brief hits of dopamine.
You’ve mentioned that Slot Machine signals a new creative chapter for you. How does this single differ from the music on your debut album All the Colors of the Sky?
This single marks the first time I started a record completely from scratch. With my debut album, All the Colors of the Sky, it was more of a collection of songs I had written over the years—some were as old as six years by the time they made it onto the album. But for this second album, I truly began with a blank canvas, I didn’t even have the colors and supplies ready. At the start, I struggled with writing, which led me to journaling—at least three pages a day. This process helped me organize my thoughts and figure out what I really wanted to say with this new chapter of my music.
The song has a jangly, upbeat vibe but deals with heavier themes like the emotional impact of constant digital consumption. How do you find the balance between light and dark elements in your music?
I just like to wrap sad/heavy emotions in colorful wrapping paper. It’s fun to me. Plus, the irony adds to the message of the song. I feel like it reflects the way we often mask deeper feelings in everyday life, especially in the digital world.
You worked with an international team for this single, including producer Kim Wennerstrøm from Berlin and mastering engineer Jonas W. Karlsson from Finland. How did this collaboration come about, and what was the creative process like?
I discovered Kim while listening to music on Spotify. I was listening to Good Girl Killer by Paula della Corte, and I loved the production. When I looked up who worked on the track, Kim’s name popped up. After checking out more of his work and seeing that he’d collaborated with some pretty successful artists, I assumed he might turn down the project or be out of my budget. But my manager, who’s also a big fan of the song, encouraged me to reach out anyway. We sent the track to Kim, and to my surprise, he really liked it—and the rest is history! 😊As for Jonas, Kim recommended him for mastering, and he did an amazing job!!
Your vocals on Slot Machine have drawn comparisons to artists like Avril Lavigne and Alabama Shakes. Who are your biggest musical influences, and how have they shaped your sound?
Thank you! I love both Avril Lavigne and Alabama Shakes! I think whatever music I listen to has an influence on me in some way. I’m a huge fan of the Motown era—I love the soul and energy that comes from it. Frank Ocean is another big influence, especially his storytelling and unique approach to production. And of course, I absolutely adore Amy Winehouse—her raw emotion and honesty in her music really resonate with me. There are so many more, Vasco Rossi, Djo, Sam Fender, Aretha Franklin…
You’ve performed at iconic venues like Glastonbury Festival and Montreux Jazz Festival. How do those experiences inform your approach to recording and performing new music?
Oh, I definitely make music with the thought in mind that I want to play these songs live. I love performing, and it adds a whole different layer to the way I approach music. It’s more of a gut feeling than anything else, but knowing that I’ll be sharing these songs on stage really influences the process.
In Slot Machine, you talk about feeling discontent despite the constant entertainment from our phones. How do you personally manage the pressures of staying connected in the digital age?
Sometimes I manage it better than other times. I try to put my phone away whenever I can, but it’s definitely challenging—especially since I need it for my job. Still, whenever I get some time off or when I’m hanging out with friends, I tuck it away to be present in the moment.
Your debut album All the Colors of the Sky reached #5 on the Swiss charts and gained significant attention internationally. How did that success shape your approach to creating new music for your upcoming second album?
To be honest, it didn’t really shape my approach. I’m in a very privileged position where I can make the music I truly want to create. The only real pressure comes from myself—I always want to grow and improve with each song I write.
You’ve shared that music allows you to communicate and process emotions that you might not express otherwise. How has songwriting helped you navigate life and your artistic journey?
I’m not always the best at expressing my emotions or how I feel in the moment, but music helps me a lot with that. Writing songs gives me the time and space to think through every line, which allows me to really process my thoughts and emotions. It’s like a way of understanding myself better.
With Slot Machine marking the beginning of your new project, what can we expect from your upcoming second album in 2025? Are there any exciting new directions you’re exploring?
I always find it hard to answer this question because I don’t want to set specific expectations for what people will hear on my upcoming album. I just want listeners to enjoy the music, take their time with the lyrics, and really immerse themselves in it. I think it’s fun music—music that I truly enjoy creating. I poured a lot of time and thought into it, obviously. In terms of gerne, rock has definitely had a stronger influence on this album, making it a bit more in-your-face overall. It’s more critical of the world and myself, but there are also very vulnerable, quiet moments. I think it’s best if you just give it a listen! 🙂
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Twin Brother Duo MC4D Seamlessly Blends Folk, Country and Dance Music Into Catchy Folktronica Genre with Their New Single “Be Here With Me Now” with Łaszewo and gavn! Out Now as MC4D’s Self-Release
Title: Be Here With Me Now
Label: Self-release
With the rise of a new generation of folk and country music stars and the growing proliferation of dance music within younger demographics, MC4D has seamlessly stepped up to the challenge of blending these fast growing genres into their fresh “folktronica” sound. Reminiscent Of Monsters and Men‘s 2010s hits as well as Avicii‘s folk-leaning anthems “Wake Me Up” and “Hey Brother“, “Be Here With Me Now” begins with ethereal guitar melodies, setting the stage for an emotional male and female vocal duet complemented by organic instrumentation and gently undulating electronic production. With its melancholy chord progression, soulful indie-folk vocal performance, and powerful electronic beat, the song holds mass appeal for both country/folk and dance music fans. Leading up to MC4D‘s debut EP later this year, “Be Here With Me Now” will continue to build upon MC4D‘s recent single “Afterlife,” which is currently charting on the Viral 50 Spotify charts in several countries, as well as their viral folktronica remixes for Zach Bryan, Noah Kahan, and Shaboozey.
“‘Be Here With Me Now‘ epitomizes where we’re heading with our ‘folktronica‘ sound, and we couldn’t be luckier to have worked on it with gavn! and Łaszewo. They’re both so incredibly talented and helped us bring to life a truly unique song that is reminiscent of the Of Monsters and Men hits mixed with an upbeat and emotional electronic feel. We can’t think of another dance song like it that’s out right now, and we’re stoked for Be Here With Me Now to continue expanding the boundaries of how folk and dance music can be combined.” – MC4D
“‘Be Here With Me Now‘ is a great mix between emotional lyricism and energetic dance music. This one blurs the line between folk and electronic, existing in its own world of euphoria. The lyrics are deep, the melody’s catchy, and the production takes it to a whole new level. We loved working on this one with the homies.” – Łaszewo
“Life goes on and people get busy, but sometimes all we need is a person to sit down and exist with us in that given moment. This song could be directed at a prior love, a person that’s no longer her, etc. The world needs more connection in an age where we only exist digitally, and this song embodies the inner feeling of not wanting to be so alone.” – gavn!
MC4D
Best known for their signature blend of country, folk, and EDM, twin-brother duo MC4D has gained an avid and fast-growing fanbase for their uptempo ‘folktronica‘ self-releases in 2024, popular country-EDM Down Under Mix series (top-charting on SoundCloud U.S. dance charts) and related country remixes, which gained over 10M+ streams in the last year. The mixes & recent string of viral remixes of artists like Zach Bryan, Noah Kahan, and Shaboozey, have garnered tens of millions of views across socials, establishing them as a known social-media presence in the music scene. Additionally, the duo has released over 2 dozen official remixes for major artists like Flo Rida, Steve Aoki, Meghan Trainor, Two Friends, Wrabel and Kesha, amassing over 25M streams across platforms. Just having wrapped their 40-show coast-to-coast “Call It Fate Tour” in the first half of 2024 and in the midst of their 35 show ‘Two Lane Tour‘ this fall, the duo has become a sought-after live act for their unique sonic appeal and high energy live performances. Their 2024 tours have featured headline performances at notable clubs and venues across the country, as well as performances at major festivals such as Stagecoach, EDC Las Vegas, Summerfest, and Windy City Smokeout. With an upcoming debut EP to be released later in 2024 and major support tour to be announced for early 2025, MC4D is carving out a niche that fans can’t find anywhere else.
Łaszewo
In 2018, Łaszewo‘s Matthew Ehrlich, Keeva Bouley, and Justin De La Fuente came together in Santa Barbara, California under unexpected circumstances. When Justin overheard Keeva singing through her open apartment window, he immediately knocked on her door and the rest was history. Since then, they have continued to rise and grow into one of the most exciting and dynamic electronic pop acts. With the recent release of their debut album, In Color, Łaszewo is embarking on their largest headline tour yet spanning across North America, ŁASZEWO: LIVE IN COLOR. Łaszewo‘s two producer and female lead vocalist setup is unique to the electronic landscape, and the trio continues to make waves with their upbeat, melodic sound and euphoric live performances. Their diverse talent and charismatic stage presence continues to allow them to be a rising force in the electronic-pop scene and captivate audiences globally along the way.
gavn!
Gavin Maher is a baritone at heart born in Southern California but raised just outside Seattle, and defining his own lane in the PNW. He caught fire in early 2021 with a viral TikTok video of an unreleased song that hit 3 million views in the first 2 days and amassed a million streams on Spotify in the first 4 weeks following the release of “crazy“. Inspired by Jon Bellion, Lauv, and Frank Ocean, he discovered them during a pivotal moment in his life. Recent and close collaborators include Dominic Martinez, Evan Cline, David J, Cate Downey, Mike Robinson, Lauren LaRue, James Droll, Caroline Baker (carobae), Brett Truitt, Ethan Hallerman (EHALLZ), J. Scott, Jeremy Fedryk (Sarcastic Sounds), Danny Majic, John Spencer Jordan, Aidan Han, Nato Kitch & JustJake. Strengths include great vocals, incredible range, broad concepts, and honest lyricism. Gavin has an astounding comprehensive knowledge of musical theory, can self-produce guitar (“South Dakota“, “Bridges“), and engineers his own records. His 2nd EP, roots, was just released on 8 DEC 2023 with the lead track “vices” having seen coverage on several of Spotify’s New Music Friday playlists (USA #24, Bangladesh #49, Sri Lanka #42, Levant #19, Gulf #19, Sweden #53), Pop Sauce (#75), Acoustic Pop (#21), and New Pop Picks (#14), & Deezer’s New Music Radar Weekly.
MC4D Upcoming Tour Dates:
Oct 19 – Charleston, SC – Share House
Oct 25 – Chicago, IL – Chop Shop
Oct 31 – Orlando, FL – PBR
Nov 02 – Miami, FL – LIV
Nov 09 – Phoenix, AZ – Sun Bar
Nov 10 – Miami, FL – Country Bay Festival
Nov 15 – Gainesville, FL – The Swamp
Nov 21 – San Francisco, CA – 1015 Folsom (w/ Łaszewo)
Nov 22 – Boston, MA – MGM Music Hall (w/ Loud Luxury)
Nov 23 – Vancouver, BC – Fortune Sound Club (w/ Łaszewo)
Dec 11 – Montreal, QC – Bar Le Ritz
Dec 12 – Toronto, ON – Velvet Underground
“Seeing you tonight? It’s a bad idea, right?”. The ‘Guts’ tour officially hits Sydney as the gen z’s very own punk rock princess Olivia Rodrigo explodes onto stage in a sparkling ensemble, opening the night with her hit single ‘Bad Idea Right?’ from her sophomore album ‘Guts’, a song that perfectly set the scene for the night with the five words “maybe I can fix him?”.
Since her hit single ‘Driver’s License’, Olivia’s life leapt from Disney stardom (starring in the hit series ‘High School Musical the Musical the Series’) to becoming the powerhouse pop icon she’s known as today. Her debut album ‘Sour’ instantly became a chart-topping success, dominating streaming platforms and garnering the hearts of millions worldwide. Her lyrical mix of teenage heartbreak and melodrama mixed with the hard hitting, distorted instrumentals instantly made her be known as a force to be reckoned with amongst the upcoming new artists of her generation, a sound that was seamlessly transitioned into her live performances.
The night went on like a theatrical spectacle, with Olivia creating moments within each part of the night highlighted by dynamic set designs and carefully curated outfit changes. Songs like “Ballad of a Homeschooled Girl” and “Teenage Dream” offered us a rare glimpse into her own personal life, her super catchy and relatable lyrics echoing the room from the voices in the crowd. Lead single “Vampire” and “Making the Bed” gave us the signature Olivia ballads she’s known for while being backed by the absolutely gigantic wall of sound delivered from her band, while hard hitters “Pretty Isn’t Pretty” and “Traitor” showed us a more vulnerable side with themes that hit very close to home for a lot of the audience, seeing a piece of themselves in the sequin studded starlet.
Her set was broken into a mix of her upbeat and cheerful hits as well as some more intimate moments through her acoustic driven songs, with Olivia serenading the crowd through “Logical” and “Enough for You” sitting on the edge of the moon surrounded by a scene of stars. Her crowd engagement was next to none, the whole arena screaming in high pitch unison. Echoes of her lyrics bled through every seat, with “Déjà vu” and “Good 4 U” being personal standouts of the night, feet stomping and lungs running out of air as every person in the room (my posse and I very much included) yelled lyrics about revenge, heartbreak and longing so loud that by the end of the night, the only appropriate way to end the night was to look around and ask “Sydney, who hurt you?”
Olivia continues her performances at Qudos up until next Tuesday the 22nd of October – so on the chance that you luck out on Tixel, be sure to hit the glitter bar and be ready for a night full of beautifully chaotic catharsis.
Words: Ken Magno
Photography: Josh Ma
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.
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.
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/