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You’ve collaborated with talented artists like Tom Spall. What’s the creative process like when you’re in the studio together? It’s a lot of fun, laughs and natural wine to tell you the truth. Tom and I have worked together on so many different projects over the years and we’re also close personal friends. We communicate big ideas and concepts openly and trust each other’s judgement. Leather Trim is a complex album but it was recorded remarkably efficiently in hindsight. Generally I would take a song to Tom’s studio after dinner and we would create it entirely overnight, listen back to it after breakfast the next morning and ‘add to cart’. Vic Conrad was almost always present and contributed heavily – as did all the guests who passed through. It’s special making things with your friends.
Your lyrics are quite surreal and evocative. Where do you find your inspiration when writing? I had to read the Christian bible a lot when I was a child and I possibly developed a bit of a knack for telling simple stories in grandiose ways through that experience. I’ve been quite fond of literature during my adult life and I consumed a good number of the classics throughout my 20s and early 30s. Words are cool and powerful and if you put the right ones together, you can make your feelings sound clever.
You mentioned the sound being like “a slightly malfunctioning vintage robot.” Can you elaborate on that concept? Well, the sound of Leather Trim is quite seriously lopsided but still somehow reconcilable. The rhythms are consistently wonky, the tones aren’t available “off-the-shelf” and the overall aesthetic is flawed, difficult to locate and impossible to recreate. These types of qualities are generally rejected by the mainstream but pursued by the relevant enthusiast.
In what ways do you think your previous projects, like Wireheads and Dom & the Wizards, have influenced your work as Dom Sensitive? I guess it’s like anything: the more you do it, the more you learn about it. I’ve written, recorded and released 92 songs under the various names and I’d like to think that each one has informed the next in some way or another. I’ve also been heavily influenced by the other members and collaborators of both Wireheads and Dom & The Wizards over the years. They’re a tasteful and stylish bunch of people.
Can you share some insight into one of your favorite tracks on Leather Trim and what it means to you? I admire the spirit and ambition of The Second Day of Spring. I knew when I was writing it that it wouldn’t be a short song, but I wasn’t thinking it would go for 11 odd minutes. Guitars out, saxophones in – and a psychedelic amble up and down the coast! I hope to start writing a novel someday soon and I hope it’s as lively and adventurous as this song. Fun fact: The Second Day of Spring features samples from two (2) different Wireheads songs – along with a number of other samples I made/collected in my travels.
Do you have any exciting plans or surprises for your Naarm/Melbourne launch? We’re looking forward to it! You bet! I’ll be announcing this soon. The show will be in November and I believe I have secured the support of my favourite contemporary song-maker. Wild!
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Sum 41
Violent Femmes
Electric Callboy | Billy Corgan | Mastodon | Kerry King
The Gaslight Anthem | Jet | The Living End | L7 | Northlane
Bowling For Soup | Alpha Wolf | Sleeping With Sirens | The Butterfly Effect | 311
In Alphabetical Order:
AViVA | Destroy Boys | Dragon | Frank Turner And The Sleeping Souls
From Ashes To New | Grandson | Highly Suspect | Imminence
Killing Heidi (Performing ‘Reflector’ In Full) | Loathe | Reliqa | Taylor Acorn
Plus the return of Stage 666!
DATES AND VENUES:
Friday 6 December – Flemington Racecourse, Melbourne (15+)
Saturday 7 December – Centennial Park, Sydney (16+)
Sunday 8 December – Brisbane Showgrounds, Brisbane (15+)
Tickets on sale from https://www.oztix.com.au/
This marks Væring’s eighth solo album and her official foray into the Americana and alt-country genres. “I’m Not A Quitter” features a gritty, blues-infused Americana/Nordicana sound, exploring themes of resilience and empowerment that reflect Væring’s own journey through the challenges of the music industry. Produced by renowned Canadian producer John Raham, the new music was recorded in Vancouver, BC, representing a departure for Væring, who is known for leading and writing for the 10-piece folk fusion ensemble Tone of Voice Orchestra. This band merges Scandinavian roots with diverse global influences. Her debut album, released in March 2022, received international acclaim and earned three nominations at the Danish Music Awards, winning “Vocal Jazz Album of the Year.”
Pete Murray: photo credit Ian Laidlaw
Loading up the good vibes, today beloved Australian singer-songwriter Pete Murray returns with his new single and music video, Wouldn’t It Be Good. Soaked in grooves, sunny melodics and Murray’s powerfully soothing vocals, Wouldn’t It Be Good is a charismatic addition to 2024, as well as a perfect accompaniment to the summer months ahead; a fitting fact with Murray also set to embark on an extensive tour kicking off late December and closing out in January 2025.
Starting life with nothing but its opening riff percolating, Wouldn’t It Be Good not only evolved into slightly new sonic territory for Pete Murray; it also marked a shift in Murray’s creative process, with producer Luke Palmer (Dead Letter Circus) ultimately helping to solidify the radiant end result. “It just started with the opening riff then went to the two-chord verse,” shares Murray of Wouldn’t It Be Good’s origins. “I was really just searching for the chorus lyrics, and the music just seemed to fit in with the lyrics. It’s normally the other way around. I produced this song with the help of Luke Palmer, and it’s funny with this song because when I first wrote it and played it for some friends, it wasn’t getting a great reaction. But I still really liked the song and never gave up on it. Then I had my nephew Dylan Cattanach (aka Katanak) help me out on an early demo, and it was here that I really started to hear the potential of the song – but people still weren’t getting it. During the recording of the album, I even played it to Luke and he wasn’t that into it, so I left it until the very end of the album recording and I brought it up again and got Luke to help me with it. There is a really great drum groove with congas paying and I got Luke to play a bass line on it too. As soon as I heard the bass, acoustic and drums, I knew this was going to work and the whole song just fell into place after that. Even at this stage when the song started to fall into place, I think I had lost a bit of confidence with it and I said to Luke: “I’ll keep this song for the next record, but let’s just finish it anyway”. Instead, he was like: “No way this is one of my faves and should go on this album”, so we finished it off and now it’s the first single. Funny how things work.”
Coated in positivity, bustling with acoustic magic and sparkling percussion, Wouldn’t It Be Good channels the essence of three iconic artists alongside Murray’s affable yet gripping trademark charm, as Murray himself puts it: “It’s John Lennon meets Jack Johnson and Rodriguez”. Mixed by Callam Howell, Wouldn’t It Be Good also saw Murray connect with OneHouse to conjure the accompanying visuals, featuring Murray and his accompanying band in full swing. “I’m keeping this video clip pretty simple and just filming the band play it in the studio – but I do have a funny video idea that involves a well-known tennis player but I can’t talk about this yet!” Murray reveals. “For this video, we worked with the talented OneHouse who are one of the most exciting up-and-coming production teams in the country. They’ve worked on a bunch of great short films that have been screened at festivals around the world recently as well as created some compelling music videos for acts including Boy & Bear and Steph Strings.”
One of Australia’s most enduring and endearing singer-songwriters, Pete Murray has gone on to sell over 1.2 million albums, amassed hundreds of millions of streams, release three ARIA chart-topping albums, and boasts 17 ARIA Award nominations amongst multiple other wins and nominations over the years. Emerging with his debut full length album The Game in 2001, Murray’s breakout sophomore album Feeler in 2003 cemented his status as one of the all-time greats. With ongoing hits along the way, including Better Days, Feeler, Opportunity and So Beautiful, Murray’s stirring blend of positivity with acoustic, rock and folk elements has flourished across decades, including with his most recent full length album Camacho in 2017. Now dominantly splitting his time in the studio and spending time with his family, Murray has also cultivated a stalwart reputation for his live show, from his own headline shows at home and abroad, as well as performances with the likes of Missy Higgins, Icehouse, Rob Thomas, Darryl Braithwaite and James Blunt to name a mere few. And in 2024, Murray has also returned to releasing music as an entirely independent artist. I’m now 100% back to being an independent artist, which I’m really excited about,” shares Murray. “Being independent again, the workload is a lot greater, but I’m enjoying being a part of every step, and hopefully the rewards will also be greater.”
With performances lined up to close out 2024 and heading into early 2025, fans can definitely expect to hear Wouldn’t It Be Good live when Pete Murray takes the stage, kicking off on Friday December 20 in Miranda before heading around the country, with stops in regional New South Wales, Queensland, Victoria, and Western Australia. But fret not if the Pete Murray live experience doesn’t head to a town near you; the man himself has also just launched the Play At Your Place competition, offering fans a chance to go in the running to have Pete Murray play an intimate, private performance at their own home; just by signing up to his mailing list, one lucky winner will score the ultimate bragging rights and an unforgettable experience, head to petemurray.com.
And regardless of where you catch Pete Murray live in action this summer, one thing is guaranteed: he couldn’t be happier to celebrate the brand new track Wouldn’t It Be Good onstage as 2024 draws to a close and we welcome 2025, with the latest single set to shine alongside many other favourites. “You will definitely be hearing Wouldn’t It Be Good that’s for sure,” reveals Murray of his upcoming performances. “It is a great summer song and will blend in to all my other songs. I’m hoping it will be a fan favourite by the end of the tour. It’s always exciting growing as an artist and writing and recording new songs. I’m loving the groove on this track, so it’s going to be a fun one to play live.”
Wouldn’t It Be Good is out today.
Stream: Wouldn’t It Be Good
Watch: Wouldn’t It Be Good
PETE MURRAY – UPCOMING SHOWS:
FRI 20 DEC | MIRANDA HOTEL, MIRANDA NSW
Tickets available from Oztix
https://tickets.oztix.com.au/outlet/event/03b0579a-7fd8-493e-b3b9-d087deb87b6c
SAT 21 DEC | WAVES HOTEL, WOLLONGONG NSW
Tickets available from Moshtix
https://moshtix.com.au/v2/event/pete-murray-w-special-guests/171837
SUN 22 DEC | THE VINEYARD, VINEYARD NSW
Tickets available from Oztix
https://tickets.oztix.com.au/outlet/event/01db6ee1-29da-4dac-ab19-d5f101132657
MON 23 DEC | THE RECKY, ELIZABETH BEACH NSW
Tickets available from Oztix
https://tickets.oztix.com.au/outlet/event/c87247d3-4dd5-4ea8-896f-216c1b365def
TUE 01 JAN | MANLY HARBOUR BOAT CLUB, MANLY QLD
Tickets available from Ticketek
https://premier.ticketek.com.au/shows/show.aspx?sh=petemnyd25
WED 02 JAN | KINGSCLIFF BEACH HOTEL, KINGSCLIFF NSW
Tickets available from Oztix
THU 03 JAN | THE STATION, SUNSHINE COAST QLD
Tickets available from Moshtix
https://moshtix.com.au/v2/event/pete-murray-w-special-guests/171840
FRI 04 JAN | JETTY BEACH HOUSE, COFFS HARBOUR NSW
Tickets available from Oztix
https://tickets.oztix.com.au/outlet/event/e7ffc6e9-0b37-40e3-86e6-2d9be4f5bff4
SAT 05 JAN | TORONTO HOTEL, TORONTO NSW
Tickets available from Try Booking
https://www.trybooking.com/CVYRO
TUE 08 JAN | BARWON HEADS HOTEL, BARWON HEADS VIC
Tickets available from Oztix
https://tickets.oztix.com.au/outlet/event/53ab1abf-d130-4b4b-a2d5-cdbd1112328d
WED 09 JAN | THE PIER BANDROOM, FRANKSTON VIC
Tickets available from Oztix
THU 10 JAN | THE DUNSBOROUGH, DUNSBOROUGH WA
Tickets available from Oztix
FRI 11 JAN | RAVENSWOOD HOTEL, RAVENSWOOD WA
Tickets available from Oztix
https://tickets.oztix.com.au/outlet/event/54bc5a03-ddf9-4fe2-a645-9c08a0c3372d
SAT 12 JAN | HOTEL ROTTNEST, ROTTNEST ISLAND WA
Tickets available from Ticketmaster
Tinariwen announce a new unreleased & rarities album Idrache (Traces Of The Past), out November 15 via Wedge. Today they share the lead single ‘Amoss Idjraw’, written by the band’s founding member Ibrahim Ag Alhabib, and originally recorded in Kidal, Mali in January 2006. The album follows an extensive 2024 world tour, which featured sold out shows headlining venues and festivals such as Newport Folk Festival, BBC Proms (Royal Albert Hall), Sydney Opera House, Elbphilarminie in Hamburg, Dubai Opera House, and more, in support of their last studio album Amatssou.
Idrache (Traces Of The Past) features a dozen hidden gems from the Sahara. Rough hewn, but intimate and beautiful recordings by Tinariwen, the world’s most famous Tuareg band. Some are demos that were later released in more produced versions on subsequent albums and four of them have never been released before. This is music to transport you, music that makes you feel you are in the Sahara with these extraordinary musicians for whom it is their home and their inspiration. These are raw desert treasures, recorded live with no overdubs, that are only emerging into the sunlight with this album of rarities, Idrache (Traces of the Past).
With their long desert robes and Tuareg turbans or shesh, Tinariwen are the originators of what’s become known as ‘desert blues’, a style of music they themselves call ‘assuf’ which also means ‘longing’ or ‘homesickness’ in the Tamasheq language. Exchanging Kalashnikovs for guitars after participating in the 1990 Tuareg rebellion, Tinariwian really are rock ’n’ roll rebels, drawing people into their growling vocals, spacey guitar lines and clapping rhythms. Over the past two decades, they’ve been popular and regular guests at festivals all around the world where they’ve done a lot to raise awareness about Tuareg culture and identity.
The songs on this album were recorded in 2002, 2006 and 2008, the first about a decade after the band started to become known internationally. The opening track ‘Soixante Trois’ refers to the Tuareg rebellion in Mali of 1963. It was written by the band’s charismatic founder and leader Ibrahim Ag Alhabib who, as a young boy aged four, saw his father killed in that conflict. With its nimble guitar playing and soulful vocals it sounds confessional and direct. “’63 has gone, but will return / That time has left us memories.”
Although the members of Tinariwen all come from Mali – mostly from Kidal and the surrounding region – their music began in Tamanrasset in southern Algeria. The Tuareg have no state of their own but are scattered across the desert regions of Mali, Algeria, Libya and Niger. Ibrahim grew up in refugee camps in southern Algeria and it was in Tamanrasset that he was given an acoustic guitar and met other Malian Tuareg musicians with whom he formed a group which became known as Kel Tinariwen (People of the Deserts). In 1985 Ibrahim and other musicians moved to a Toureg rebel camp in Libya known as ‘Tin Mars’ (The 2nd March). There Tinariwen became the musical mouthpiece of the movement and their songs became widely known in the community, passed around and copied on cassettes.
When the next Tuareg rebellion broke out in 1990, six key members of the band, including Ibrahim, actively took part in the struggle. A peace agreement known as the Tamanrasset Accords was signed in January 1991 and Tinariwen decided to devote themselves solely to music. They started to get international recognition thanks to the Festival in the Desert near Timbuktu, which first took place in 2001 and really caught people’s imagination. And thanks to their first international album, The Radio Tisdas Sessions, produced by Justin Adams in the radio studio in Kidal. Now in 2024, due to the political unrest in Mali, Tinariwen are once again based in various locations in southern Algeria. The band have differing views on what the future of the Tuareg should be – from more recognition and integration as a minority within Mali to an independent state of Azawad. When I question him, Abdallah Ag Alhousseyni, one of the veterans of the 1990 rebellion, says “my hope is the same as it’s always been. That one day people will recognise that this is Touareg land since time immemorial. Azawad is not for today or tomorrow, but maybe in a hundred years it will arrive.”
Idrache (Traces Of The Past) by Tinariwen
is out November 15 on Wedge
Pre-order: wedge.ffm.to/
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GRAMMY AWARD-WINNING ELECTRONIC BAND RÜFÜS DU SOL ANNOUNCE
LIVE PERFORMANCE IN SYDNEY HARBOUR CELEBRATING RELEASE OF FIFTH STUDIO ALBUM INHALE / EXHALE
INTIMATE OCTOBER 10TH SHOW TO TAKE PLACE ON SYDNEY HARBOUR, AUSTRALIA
FLEET STEPS AT THE BOTANIC GARDENS
GENERAL ONSALE BEGINS FRIDAY, OCTOBER 4 AT 10AM AEST ON RUFUSDUSOL.COM/SYDNEY
FOLLOWING SINGLES “PRESSURE,” “MUSIC IS BETTER,” “LATELY” & “BREAK MY LOVE”
Today, Grammy-winning live electronic trio RÜFÜS DU SOL announce an intimate live performance ahead of the release of their highly anticipated fifth album, set to take place on October 10th at sunset on the iconic Sydney Harbour in Australia. Tickets will be available through a general onsale on Friday, October 4 at 10AM AEST on rufusdusol.com/sydney.
This exclusive, one-off show, scheduled for the night before the album’s global release, will give their Australian fans their first opportunity to hear cuts from the band’s new record live. The performance will bring their signature blend of live instrumentation and electronic elements to a breathtaking outdoor stage, offering a unique chance to witness the trio in a more personal setting, with the stunning backdrop of the Harbour at sunset.
Adding to the excitement, the band has launched a cryptic countdown at rufusdusol.com/live, hinting at more live performance announcements to come. The site is expected to unveil new dates and locations, building anticipation for future experiences as the band continues to redefine live electronic music performances globally. RÜFÜS DU SOL will deliver an unforgettable evening for their Australian fans, as Inhale / Exhale marks a new creative groove for the band. The trio’s next era is defined by enjoying the process and creating from the now while binding organic and electronic, with the album encompassing the themes that have endeared fans for over a decade – romance, heartbreak, euphoria, despair – through a medley of sprawling, mature soundscapes.
In the three years since Surrender was released, RÜFÜS DU SOL won a Grammy for Best Dance/Electronic Recording in 2022, were twice-nominated the following year for Best Dance/Electronic Album and earned their fifth ARIA award in Australia. The band circled the globe appearing at festivals across Europe and South America, and brought Surrender to the stages of iconic North American venues like New York’s Forest Hills Stadium, Denver’s Red Rocks Amphitheatre, and Los Angeles’ Hollywood Bowl. The band also launched their boutique Sundream Festival, which held its second edition in San José del Cabo in 2023, and was part of the debut of the new Quasar Stage at Coachella in 2024. Inhale / Exhale will serve as the follow-up to the group’s 2021 album Surrender, which featured the Grammy-winning lead single “Alive”.
Stream RÜFÜS DU SOL’s new single “Pressure” available now on all platforms and pre-order their upcoming album Inhale / Exhale.
Inhale / Exhale Tracklist
1. Inhale
2. Lately
3. Breathe
4. Music is Better
5. Levitating
6. Break My Love
7. In the Moment
8. New York
9. The Life
10. Pressure
11. Fire / Desire
12. Edge of the Earth
13. Standing at the Gates
14. Belong
15. Exhale
RÜFÜS DU SOL Tour Dates
October 10, 2024 – Fleet Steps at the Botanic Gardens – Sydney, Australia
March 21-23, 2025 – Lollapalooza Argentina – San Isidro, AR
March 21-23, 2025 – Lollapalooza Chile – Santiago, CL
March 28-30, 2025 – Lollapalooza Brazil – São Paulo, BR
ABOUT RÜFÜS DU SOL:
RÜFÜS DU SOL are the Grammy-winning live electronic trio formed in Sydney Australia, composed of Jon George, James Hunt, and Tyrone Lindqvist, who are now one of the genre’s most highly regarded studio and touring acts. Known for creating emotive electronic music built for the dancefloor, RÜFÜS have released four studio albums, including their most recent full length effort Surrender, which saw them tour across 60 cities, selling 700,000 tickets globally. RÜFÜS’ Jon George and James Hunt have also fostered a DJ project for the project, which triumphs as one of the most popular in the space. The band have translated this success into their own Rose Avenue imprint and boutique Sundream festival in Tulum and Baja, Mexico.
Connect with RÜFÜS DU SOL:
Website | Facebook | Twitter | Instagram | Threads | TikTok | SoundCloud | Spotify
Australian Independent Record Labels Association Announce AIR Member Mentor Program
The Australian Independent Labels Association (AIR) is thrilled to announce the launch of its AIR Label and Distributor Member Mentoring program thanks to support from Music Australia through Creative Australia and Sound NSW through the NSW Government.
AIR Label and Distributor Members can apply to receive professional development and mentoring sessions for themselves as business owners or for any of their staff to enable career and leadership progression pathways, including digital marketing, strategic decision making, financial literacy, HR and effective communication strategies.
Members will be asked to complete a self-assessment and nominate up to three areas of professional development training they wish to participate in and outline how upskilling will assist them to overcome current business challenges, help them grow and achieve business outcomes or enable career progression.
Successful applicants will then be grouped by areas of interest and undertake professional development and mentoring in those areas. This will include workshops with industry professionals and leaders.
Applications are Now Open for all AIR Associate, Full and Distributor members.
Successful applicants will be notified by 6th December 2024 and professional development and mentoring will take place between January and June 2025.
Applications close at midnight on 8th November 2024.
Apply here: https://air.grantplatform.com/
Applicants must be Australian based and have a current AIR Associate, Full or Distributor membership. To find out if you are eligible for AIR label membership click here for more information or email membership@air.org.au
“We look forward to delivering this program for our label and distributor members and to working collaboratively with industry professionals across Australia.” – Maria Amato, AIR CEO
Perth-based musician and producer Louis Rendle-O’Shea, known as Nocturnal, has recently announced a new EP featuring his latest single, “Cold Hearts.” The song has an ’80s-inspired sound that will resonate with all the hopeless romantics out there. “Cold Hearts” delves into heartbreak and the drama and uncertainty that often accompany young love, for better or worse. The butterflies in your stomach, your heartbeat racing, waiting by the phone for hours—these are just some of the images that come to mind when listening to this highly cinematic anthem.
The nostalgic tones of the track perfectly complement Nocturnal’s synth-pop sound, and they blend seamlessly with his R&B-inspired vocal style. “Cold Hearts” is another excellent example of the artist’s proficiency as both a producer and recording artist, as the track was entirely created in Nocturnal’s home studio. It was later mixed by Dave Parkin at Blackbird Studios and mastered by Simon Struthers at Forensic Audio.
The composition of the song places a strong emphasis on synthesizers and electric piano, which are featured prominently throughout. The instrumental melodies are thoughtfully crafted, with a refreshing degree of sparsity that allows the vocal performance to shine through with greater clarity and impact. The drums, in particular, have a punchy and dynamic quality, with a fat snare and a big, gated tone that ties in perfectly with the 80s aesthetic.
Throughout that decade, digital technology experienced its first real boom in music production, enabling artists to enhance their sound with grand, lavish textures and larger-than-life soundscapes. “Cold Hearts” captures that 80s throwback excitement to perfection but also introduces something fresh through Nocturnal’s personal lyrics and vocal delivery.
Overall, the production value of “Cold Hearts” is exceptional, creating a rich and cohesive sonic landscape that reflects the emotional depth Nocturnal intended. This song wouldn’t feel out of place in one of those classic 80s teen movies, making it a dynamic and powerful addition to his growing discography. Nocturnal’s new EP, “HEARTATTACK,” featuring this song, will be available very soon.
“Boys Are Easy (But You’ll Never Find A Girl Like Me)” has such a bold and sassy vibe—can you tell us what inspired the song and its lyrics?
The song was inspired by a pretty unceremonious breakup over text that I went through despite being together with that partner for quite a while. The song goes through a lot of emotions, particularly the idea of missing an ex despite how they hurt you and seeking physical validation to fill that void. But one of the main themes is the idea of regretting letting someone get that close to you and wishing you could take back allowing them to have known you or even touched you with the knowledge of how they ended up treating you.
The track mixes emotional vulnerability with a confident attitude. How do you balance those contrasting elements in your music?
Honestly it’s probably partly the BPD. When going through a breakup I go from feeling insanely insecure one moment to feeling like the hottest person in the world the next, so I feel like that comes across in my songs as I want to put that emotional honesty in there but also want to convey that despite the hurt they caused I’ll be fine.
You’ve spoken about using music as an outlet for dealing with mental health, heartbreak, and self-improvement. How does “Boys Are Easy” reflect your personal experiences?
Well like I said it’s about a breakup I went through a while ago where my partner at the time told me they needed to be alone, and then started dating a boy a few weeks later – so being irked by that is what inspired the songs themes and the title.
The production of the track is sharp and catchy. What was it like working with Zeo on the production, mixing, and mastering?
Working with Zeo is great! I’ve worked with him on pretty much all the singles I’ve released since my first EP and he always kills it with the production. He definitely elevates the tracks from where I have them initially and adds production elements that really make the song pop and hit as hard as it can.
Your music blends pop, rock, emo, hyperpop, and pop-punk. How do you navigate all these genres to create a sound that feels uniquely yours?
I honestly think the main thing is that I just enjoy listening to a whole bunch of different genres all the time and I feel like that definitely seeps into my music. Whether you’re a pop artist, or a rapper, or a rock artist I think it’s important to listen to music outside of the genre you make because it can help you make more interesting music within your scene. I just love anything that’s catchy and fun and scratches a certain itch in my brain so I try to just make what I would want to hear and not put much stock into genre anymore because I find it restricting.
Bands like Metro Station, 3OH!3, and Hellogoodbye have influenced your sound. What do you take from those influences and how do you put your own twist on them?
That was the kind of music that was being released while I was growing up and it kinda paved the way for the newer wave of hyperpop/modern pop acts that I’m really into now like 2hollis and Snow Strippers. I think the biggest influence from that kind of stuff that I took was bringing in those dance and electronic elements while also moving away from more of the guitar based stuff and leaning heavier into the dirtier, more experimental side of hyperpop/alt pop that’s around now.
Your debut single “Magic” and the ‘Sickly Sweet’ EP gained some strong attention. How does “Boys Are Easy” continue your evolution as an artist?
I think my music has grown and developed so much since that first EP. In general now I use less guitars and prefer more electronic sounds but I think ‘Boys Are Easy’ really takes things to that next step into being a full on pop/dance song and leaves a lot of that emo and pop punk angst behind.
What message or feeling do you hope listeners take away from “Boys Are Easy” when they hear it?
I hope that anyone who feels bad about a crappy ex or misses a person that hurt them hears the song and realises they are hotter and cooler than their ex and deserve better.
With your music gaining radio play and coverage in major Australian media, how do you feel about the support your project has received so far?
I’m so grateful for all the support I’ve been given with my music! Whether it’s been media support or people following my socials or streaming my music I’m genuinely so grateful to know that anyone out there is enjoying my stuff or finds it relatable.
What’s next for Killed By Cupid—can we expect more new music or live performances in the near future?
I have a bunch of new songs I’m working on that I can’t wait to release! I’m also doing a show at the Crown and Anchor on Oct 10th.
JOEL TURNER CELEBRATES 20 YEARS OF HIS #1 ARIA SINGLE, “THESE KIDS” WITH SPECIAL ANNIVERSARY REMIX FEATURING DUBLT
Back in 2004, Joel Turner stunned the music world with his powerful debut single, These Kids, a track that resonated with an entire generation and addressed the harsh realities of young struggles. Now, two decades later, the ARIA chart-topping, double-platinum single is being reimagined for a new era. The These Kids 20th Anniversary Remix, featuring a fresh beat by Kiwi DJ Jonathan Schnell and a bold new rap from DubLT, releases today through Dream Dealers, the independent label helmed by Australian music legend Mark Holden.
These Kids first took Australia by storm with its raw, unflinching look at the issues faced by the young and disadvantaged — struggles that, sadly, remain just as relevant in 2024. With lyrics like, “Gotta try something new ’cause it’s been 20 years and it’s clear, there’s been hardly any progress,” the new remix delivers a powerful message against the backdrop of today’s youth crime crisis often dominating national headlines.
Turner, whose career launched as a beatboxing sensation discovered in the 2003 Australian Idol audition line, went on to become a multi-faceted musician, hit producer, and world beatboxing champion. His debut album Joel Turner and the Modern Day Poets earned critical acclaim and three ARIA Award nominations, cementing his place in Australia’s music history.
Despite the passage of time, These Kids remains a powerful anthem of resilience, and the updated remix is set to captivate both long-time fans and a new generation alike. “This remix brings the message full circle,” says Turner. “The same struggles are still out there, and the fight continues.”
Mark Holden, who first signed Joel to Dream Dealers in 2004, believes the track’s longevity speaks to Turner’s unique voice in Australian music. “These Kids was a breakthrough back then, and 20 years on, it’s more important than ever. Joel’s voice and vision continue to resonate deeply,” Holden remarked.
Turner’s journey, from humble beginnings in Brisbane’s working-class suburb of Acacia Ridge to world recognition as a beatbox champion and chart-topping artist, has been one of grit, determination, and authenticity. This anniversary release not only celebrates the impact These Kids has had over the past two decades but also serves as a call to action for the next generation to continue pushing for change.
BWS is thrilled to bring another ‘gigantic’ Cool Room party featuring Australian indie-rock icons, The Jungle Giants, to SXSW Sydney this October for the event’s second edition.
Fresh off an exhilarating global tour, The Jungle Giants are set to deliver their signature, high-energy live show at the BWS Cool Room – SXSW Sydney edition on Thursday, 17 October 2024.
With over half a billion streams and a #1 ARIA-charting album, along with certified platinum sales, the band has secured their place on the international stage. They’ve recently played major festivals such as Latitude Festival UK, Outside Lands in San Francisco, Corona Capital in Mexico City, Bleached Festival in San Diego, and led headline tours across the USA, Canada, and Mexico.
Following their performance at the Singapore Formula One, this BWS Cool Room show will mark their first appearance back in Australia, kicking off a series of regional performances.
Sam Hales, lead singer/producer/writer of The Jungle Giants, shared, “We’re stoked to be back in Sydney for an intimate show at the BWS Cool Room. It’s going to be a night filled with beers, music, and a whole lot of love.”
The BWS Cool Room is Australia’s first concert series held inside a giant fridge, featuring top music talent. Over the past three years, it has become one of the country’s most iconic music events, partnering with both international and local stars such as BROODS, Client Liaison, Fisher, Lime Cordiale, and hip-hop sensation Armani White to keep fans engaged.
Recently, the BWS Cool Room hosted ARIA Award-winner G Flip at Moon Dog Brewery, where over 300 fans celebrated the launch of G Flip’s alcoholic juice, BOX, in an unforgettable event inside the giant inflatable fridge.
An Le, Head of Brand Marketing at BWS, commented, “We’re so excited to bring the BWS Cool Room back to SXSW Sydney after last year’s amazing response! The Cool Room continues to be a unique way for us to connect with fans and support live music in Australia. We’re thrilled to have The Jungle Giants join the incredible lineup of artists that have brought their energy to the Cool Room stage.”
To attend, fans must enter their details on the BWS website for a chance to win tickets to see The Jungle Giants at SXSW Sydney. Enter here: https://bws.com.au/the-drop.
Killed By Cupid shares sassy new single “Boys Are Easy (But You’ll Never Find A Girl Like Me)”
Adelaide bubblegum-emo artist Killed By Cupid drops her bold new single, “Boys Are Easy (But You’ll Never Find A Girl Like Me).” At its heart, the song is a sharp-edged pop track, produced, mixed, and mastered by Zeo. It captures the aftermath of a breakup, spotlighting the insecurities and emotional pain of missing someone who’s hurt you.
“Boys Are Easy” brings a sassy attitude to vulnerable emotions, with lyrics focusing on seeking physical validation to cope with heartache. Despite its emotional core, the song delivers a confident and audacious contrast to the bitterness of a breakup.
Killed By Cupid is the solo project of Jesse Cumes, blending pop, rock, emo, hyperpop, and pop-punk into her distinctive sound. Drawing from personal experiences with mental health, heartbreak, and self-improvement, Jesse channels her journey into her songwriting, capturing the emotional ups and downs of relationships and life.
Influenced by bands like Metro Station, 3OH!3, and Hellogoodbye, Killed By Cupid debuted in 2022 with the single “Magic,” followed by the ‘Sickly Sweet’ EP, which featured Wolf & Chain’s Jack Cumes. The project has garnered radio play on stations like Radio Adelaide, 4ZZZ, Southern FM, and 5ZZZ, and has been featured in outlets such as Hysteria Mag, New Noise Mag, Scenestr Mag, and HEAVY Mag.
Jesse wears her heart on her sleeve, embracing it as a fashion statement. Her blend of inclusive, relatable lyrics and genre-crossing sound has earned praise from leading Australian media, with Hysteria Mag saying Killed By Cupid “will send you right back to your scene days,” Scenestr calling her “a mix of pop-punk and hyperpop,” and HEAVY Mag labeling her “a colorful dose of angst-themed pop-punk.”
“Boys Are Easy (But You’ll Never Find A Girl Like Me)” is available now on all streaming platforms
Kevin, you’ve had an incredible year with both Jebediah and Bob Evans. How do you manage balancing both personas, especially with a new album and this tour?
I think I have just gotten used to it so it’s much easier these days than it used to be. I used to think I could only give my full attention to one or the other but I’ve realised with time that in a way both Jebs and Bob are bigger than me. They run on their own steam really. So I just have to be ready to switch hats when it’s necessary.
The When Kev Met Bob tour last year was a huge success. What motivated you to bring it back for another round?
Well its success was the main motivator! I’d never done it before and so didn’t know what sort of response it might garner and I discovered there was a willing audience for it which was great. But more than that, I really enjoyed it and wanted to do it again. The fact is, I’ve been holding this back for many years, being able to play all the songs that I have ever written throughout my life and to do so was extremely fulfilling. Also I felt like the time had come where holding on to this separation between Jebediah and my solo work just wasn’t really necessary anymore. It did its job. Jebediah and Bob Evans are just fine on their own. I don’t feel like I need to protect anything anymore.
You’ve been creating music for over three decades. How has your approach to songwriting evolved between your work as Kev in Jebediah and as Bob Evans?
I’m not sure. In a lot of ways it’s mostly the same. What I like about songs on a very basic level hasn’t changed that much. I’ve just tried to get better. I’m much more invested in lyrics now than I used to be so there’s that. I think one of the good things about doing this for a long time and getting older is that you get better at being able to synchronise your taste in music with your own writing. When you are young and new, you can have great taste in music or art more generally, but your ability to align with that when it comes to your own work can be difficult. I feel like my taste in music and my ability to create what I feel is tasteful music has become more aligned. Is that evolution? It might be.
This tour is heading to new regional venues that you didn’t visit last year. What are you looking forward to about performing in these places?
Well I love the chance to play somewhere I haven’t played before because after a while that becomes rare, especially in a place like Australia.
With such an extensive back catalogue, how do you go about selecting songs for the setlist when mixing the high-energy rock of Jebediah with the more acoustic Bob Evans tracks?
I have to look at what songs I think people might be interested in hearing and then see if I can make them work in this format. For example, I have tried and tried to make Leaving Home work, acoustically, with the electric, I’ve changed styles, tempos and still nothing really lands. So maybe that song can only really be done one way. But there are Jebediah songs that lend themselves to an acoustic or a solo treatment and I know which ones are fan favourites that perhaps weren’t necessarily radio singles so I like to explore that a bit. But it’s a fun challenge and part of why I have enjoyed this process so much is discovering new ways to play old songs.
Your fans seem to love both your Jebediah and Bob Evans work. Do you think one side of your music connects more strongly with Australian audiences, or is it evenly balanced?
There are plenty of Jebediah fans who hate Bob Evans just as there are Bob Evans fans who can’t stand Jebediah. But there is also a bit of a cross section too. I guess I might not have a career if it weren’t for the early success of Jebediah so that history looms large.
You’ve talked about feeling a sense of completeness after last year’s tour. Can you elaborate on that and explain how it’s influenced this year’s shows?
It just felt good to be able to play all the music I’d ever written in one set. It all means so much to me, from the early Jebediah songs that were written in my teens through to now. I guess it felt somehow kind of freeing to be able to tap into it all in any way I liked. I gave myself permission to do it. I’ve dedicated my whole adult life to songwriting and it’s nice to be able to have access to all of it on stage.
After so many years in the industry, what keeps you inspired to keep pushing musical boundaries? Any new elements you’re planning to bring to When Kev Met Bob Rides Again?
Well I’m not sure I’m pushing many boundaries to be honest. I just love a good song. Although I guess this whole concept for me personally is pushing a big boundary, in that I’m knocking down that Jebediah and Bob Evans wall after a few decades. Switching between acoustic and electric guitars in a solo performance is very new for me.
Switching between the rock energy of Jebediah and the reflective nature of Bob Evans can’t be easy. How do you manage that transition on stage?
Well it’s all in how the songs are interpreted. I don’t try and play the Jebediah songs like Jebediah do them. So I just find a way of playing the Jebediah songs that fits with what I already do as a solo performer. I’ve found that underneath the brashness of some Jebediah songs there is a quiet song waiting to come out.
You’ve been a part of the Australian music scene for a long time. What’s the biggest change you’ve seen in the industry, and how have you adapted?
Just the way people access music through streaming and the idea that music is free now and you can access the entire history of contemporary music in an instant with very little effort or investment. There’s a great side to that. I would have loved it when I was a kid. But people don’t have to work very hard anymore for it and I think something has been lost. The mystery is gone, although that’s largely to do with social media. But also I think about the money I had to save, the going to a record shop, the ordering a hard to find album, waiting weeks for it to arrive and then when it does it’s such a prized possession. There’s nothing fast or disposable about that experience and it stays with you forever.
The support acts for this tour are great choices. What do you look for when deciding who to share the stage with on a tour like this?
Variety is the spice of life and the last thing I want at my shows is for the support act to be another version of me. So I preference diversity. Anybody who has come to a Bob Evans show over the last decade has probably cottoned on to that. I try as best I can to make space for artists who don’t look and sound like me. I think it’s important and also my responsibility. This industry is changing for the better and it’s amazing to witness but it’s still a very straight male dominated space and I want to be on the side of progress in whatever small way that I can.
Finally, can fans expect any surprises or special moments during this tour? Perhaps a fresh take on a classic track or something new?
Of course! That’s what this show is all about! Lots of special moments await the audience, come along and see.
JEBEDIAH will be playing on the national HOTTER THAN HELL lineup through Oct/Nov
UK indie favourites THE REYTONS announce supports for their upcoming 2024 Australian Tour
In anticipation of their upcoming return to Australian shores later this month, UK indie juggernauts The Reytons have announced the supports for each show on the tour.
The band will be joined be by a plethora of emerging local talent, including The Deeneys & Girl Shaped Gun (Perth); Andy Martin Band & Friends Of Friends (Brisbane); Satin Cali & Sunset Avenue (Sydney); The Velvet Club & The Valiants (Melbourne); Molly Rocket and Stormy Lou (Adelaide).
The band have been busy selling out arenas and parks across the UK and Europe over the past few months, including the legendary Clifton Park in Rotherham back in July (which happens to hold 20,000 people) – the biggest event held in the town in over 50 years.
The Reytons have quickly become one of the UK’s premiere indie bands since the release of their debut album ‘Kids Off The Estate’ back in 2021. Fiercely independent since their inception, the band quickly rose to fame following their sophomore album ‘What’s Rock And Roll?’ which topped the UK albums chart back in early 2023.
The band have racked up an impressive 130m+ streams on Spotify, with countless sell out tours across the UK and Europe – including a sold out show in Sheffield’s Utilita Arena (which happens to hold 13,500 people). Their latest album ‘Ballads Of A Bystander’, which dropped in late January of this year, recently topped the UK Record Store Chart and is just shy of 3m total streams on Spotify.
‘Ballad Of A Bystander’ is the band doing what they do best – communicating real stories of real people; unleashing more of the crowd-pleasing, aspirational indie that has brought so many music fans to their door in years past. Tracks such as ‘Market Street’ and ‘Nineteen Crimes’ demonstrate a introspective, anthemic form of songwriting from the band, whilst songs like ‘Adrenaline’ & ‘Minus One’ are the band at full throttle – filled with grit and raucous energy that Australian audiences are sure to enjoy.
They were last in the country for Brisbane’s Super Fun Day festival last year, with the band also selling out shows at the Oxford Art Factory in Sydney and Stay Gold in Melbourne. There’s still limited tickets available for each show on the tour, with tickets moving fast for each date,
“Australia seems like a second home to us. The Australians just ‘get it’ and create the same level of carnage and chaos in the crowd that the fans back home bring. These shows are going to be special and we can’t wait to come back! All Reytons aren’t we?!
THE REYTONS
THE REYTONS 2024 AUSTRALIAN TOUR
Tickets available via https://www.destroyalllines.
Sunday, 29th September Amplifier Bar Perth WA 18+
w/ The Deeneys, Girl Shaped Gun
Tuesday 1st October Lion Arts Factory Adelaide, SA 18+
w/ Molly Rocket, Stormy Lou
Thursday 3rd October The Triffid Brisbane, QLD 18+
w/ Andy Martin Band, Friends Of Friends
Friday 4th October Metro Theatre Sydney, NSW 18+
w/ Satin Cali, Sunset Avenue
Saturday 5th October The Croxton Bandroom Melbourne, VIC 18+
w/The Velvet Clu, The Valiants
PRAISE
“Going into a Reytons show, you generally know what to expect: high energy tunes, a bouncing crowd, and an unforgettable atmosphere.”
THE COURIER (UK)
“..the band cemented their status as indie superstars last night (Saturday, September 30) when they played to a sold-out, Steel City crowd of some 13,500 fans at the Utilita Arena Sheffield.”
THE STAR (UK)
“There are some bands that simply demand to be seen live, with albums not able to truly contain the scale and scope of their sound. The Reytons are very much one of them.”
THE LIVERPOOL ECHO (UK)
“The Reytons are unstoppable!”
JACK SAUNDERS, BBC R1
“What we’re missing in music right now”
ARIELLE FREE, BBC RADIO 1
“A band who are really hard to ignore!”
STEVE LAMACQ, BBC RADIO 6
THE REYTONS: Website | Instagram | Facebook | Youtube
DESTROY ALL LINES: Website | Facebook | Instagram | Twitter