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I Just Need To Conquer This Mountain is an album of late night reflections on goodbyes, grief, new beginnings, and an important friendship that underpinned Sarah Blasko’s childhood, and finds one of Australia’s most revered songwriters more reflective and more personal than ever before. It was recorded at Rancom Street Studios in Eora/Sydney with engineer Brent Clark, produced by Sarah Blasko and mixed by Kenny Gilmore (Weyes Blood, Julia Holter, Ariel Pink), and marked a new approach to writing and recording from that of her earlier records – “This album was probably the most relaxed and free feeling record I’ve made” – while thematically traversing both the heartbreak and quiet calm that comes with letting go of your younger self, how thin the line between tragedy and comedy becomes the older we get, and the way that time changes ourselves, our hopes and our dreams. Despite roaming some big subject matter, I Just Need to Conquer This Mountain is a declaration of positivity and hope amidst the difficulty of life, one that recognises the duality in all things, and pushes forward into the light. Sarah Blasko is as expansive as she is prolific, writing songs that strike with rare immediacy, clarity and purpose. Across a discography of six solo albums – Depth of Field (2018), Eternal Return (2015), I Awake (2012), As Day Follows Night (2009), What The Sea Wants, The Sea Will Have (2006) and The Overture & the Underscore (2004) – and two albums with Holly Throsby and Sally Seltmann as Seeker Lover Keeper – Seeker, Lover, Keeper (2011) and Wild Seeds (2019) – four albums have reached Platinum Sales Status with six debuts in the ARIA Top 10. Sarah Blasko is a three-time ARIA Award winner, 18x ARIA Award nominee, has won the J Award for Australian Album of the Year, and three-times shortlisted for the Australian Music Prize. Her cover of Cold Chisel’s ‘Flame Trees’ (2004) had a resurgence when it was featured in Season 2 of Netflix’s Heartbreak High, spawning a remix by Cub Sport released this June. Sarah Blasko composed the music for Bell Shakespeare’s productions of Twelfth Night (2023) and Hamlet (2008), Sydney Dance Company’s Emergence (2013), has been praised by the likes of Sir Elton John on his visit to James Corden’s Carpool Karaoke.
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Photography: Zane Taprell
The world has awoken to strange visitors, in the form of an enigmatic Out Of Home campaign by international party series elrow.
The events producer, renowned for its fun-forward thematic events with a heavy focus on practical effects and costume designs point to a ‘giant leap forward’ in 2025, with details to be announced on Wednesday 18th December.
2025: A Space Rowdissey
A rocket ship sits in orbit around a strange planet, on the cusp of an interstellar journey. A modern take on posters for classic films by sci-fi masters, most notably Robert McCall’s work for Kubrick’s 2001, this mysterious new creative points backwards to the analogue design and practical effects of the past, and forward into new realms of technological possibility.
The poster campaign was featured simultaneously in major cities around the world. Spanning 4 continents: Europe, America, Africa and Asia, iconic locations include Tokyo’s Shibuya Tower, London’s Leicester Square, Miami’s Wynwood, and the New York City Subway.
The full list of cities: Barcelona (ES), Cape Town (ZA), Ibiza (ES), Lima (
The poster is already generating significant noise on social media, with questions raised about what the next steps could mean, ranging from a move into cinema to other out of this world pursuits. While the organization remains tight lipped, and will not be responding to requests for comments, all will be revealed on the 18.12.24.
A banner year for an extraordinary success story
This early xmas present will cap off an banner year for the international events producer, which has brought their unique, theatrical take on clubbing to a record number of cities in 2024.
A unique focus on custom made costumes and sets, professional acrobats and trained actors for each themed event, has set them in a category apart from other club brands.
With sold out shows in some of the world’s hottest venues – from London’s Drumsheds to Miami’s Factory Town, as well as events in more than 40 cities,, 2024 marks another highpoint for a brand that continues to go from strength to strength.
About elrow
Founded in 2010 by Cruz and Juan Arnau, elrow is an innovative leading brand in global entertainment and festivals. It belongs to the sixth generation of the Arnau Family, known for creating the legendary Monegros Desert Festival and the iconic Club Florida 135 in Fraga. From a unique fusion of the best electronic music, stunning stage design, impossible architectures, and extravagant performances, elrow has established a global standard of nomadic and thematic festivals that are one hundred percent immersive. With residencies in Ibiza, Madrid, London, Dubai, Las Vegas, and Amsterdam, as well as the successful itinerant festival elrow Town, the brand has captivated more than 6 million people and conquered more than 40 cities and 20 countries, establishing itself as a globally recognized entertainment powerhouse.
Congratulations on Sorry For Nothing! How does this album reflect your personal and musical growth since Who I Am?
This album is something special. I think it really possesses those rock and country elements that I love with Merle Haggard like songs “Late Night Of Drinking Again” to straight Ozzy/Nickelback vibes with “Lit Up”. They are stories of times in my life through the last 4-5 years and quite a bit has changed since then in both my personal and musical life. I loved my first album and what we did with it so I didn’t steer too far from that but working with producers like Kevin Churko over the last 5 years has certainly helped me push my vocals harder and write better in the rock lane.
Your sound seamlessly blends country and rock. How do you approach balancing these genres while staying authentic to both?
I think at first you want to find that hook or title and sometimes that helps with how the song is going to lean.. More rock or country. Sometimes it really just lands in both lanes and I think it’s just really who I am and how I’ve always done it or tried to do it. Even if it’s a “party song” I always try to write straight from the heart and I think that’s really important especially when it comes to the fans or the listeners and their connection with your song and music.
The two new singles, “Fast As I Can” and “Whiskey For Sale,” showcase different sides of your music. What inspired these tracks, and how do they set the tone for the album?
Both these songs are unique in their own ways “Fast As I Can” is an upbeat feel good love or falling in love type story about not letting her be “the one that got away” but I wanted it to feel good and upbeat and when I wrote it I had the idea of trying to make it a mix of Bryan Adams/Luke Combs. Whiskey For Sale is a fun and cool song that really mixes 3 genres.. Bluegrass, country and rock and it definitely sets the tone or gives you a good idea what the album will sound like.
You’ve collaborated with big names like Sully Erna, Mick Mars, and Travis Tritt on this record. How did these partnerships come about, and what was it like working with them?
I’ve been pretty lucky in my career to be able to collaborate with these artists, at times surreal but grateful to call them friends. With “Make My Country Rock” specifically I wanted to have that “Outlaws & Outsiders” feel so while I was in Nashville writing I had a solid recording of it I wanted to show Mick while visiting him at his home. He loved it and was happy to be part of it. I knew I had to ask Travis so he called me up while I was on tour across Canada at the start of the year and simply said “I’d love to be on this track and love the song and hey! worked out pretty good last time didn’t it? So that was cool. A few names were thrown around for the other rock feature and when I heard Sully Erna of God Smack it hit me right away. I grew up listening to them but I thought the fact that we are both lead singers who drum and do a drum solo during our live set, not to mention both big Rush fans, I knew this was the perfect fit. About a week later I got a text from Sully thanking me for having him on the song and that he thought the song is something special and should be another hit! I think we all sound great and as one on this track and certainly made my country rock!
The album’s title, Sorry For Nothing, feels bold and unapologetic. What message are you hoping to convey with it?
I’m just looking to put out another great record that connects with fans on a global scale again no matter what they listen to: country, rock, metal or jazz… It isn’t confined into sounding a certain way or fitting into some box. Just wanted a solid honest record from start to finish and I really do think this album will take the listeners for a ride they’ll want to ride over and over again.
You’ve toured with a diverse array of artists, from Five Finger Death Punch to Nickelback. How have these experiences shaped your live performances?
It keeps me driven to be touring with artists or bands like this. You see all the years of work and that road family makes me want that dream even more. Big arenas to pyro and thousands of fans every night singing your songs but most of all bringing all kinds of people together through the power of music!
On the tour with Theory of a Deadman, you’ll be performing an acoustic set. How do you adapt your high-energy tracks for a more intimate setting?
That’s the thing with my music most of it starts out on acoustic when writing them so the transition isn’t as tough. Of course I miss rockin out with the band and being loud but there’s also something very special about being able to go out and play those songs with just an acoustic guitar and sometimes just giving the song a different feel or voice and it’s been great seeing the fans connection to these songs every night.
Kevin Churko has been a long-time collaborator of yours. How has his production style influenced your sound on this album?
He is one of the GOAT’s He really helped me on the rock side and made me a better singer and more aggressive at times. The album he did with Ozzy “Black Rain” is one of my favourites and when I started this career I always wanted that sound and thought.. How kick ass would it be to a country album or artist with this type of rock production 6 years later we are making it happen and have ever since!
Country-rock often tells deeply personal stories. Are there any tracks on Sorry For Nothing that hold a special emotional significance for you?
There are a few actually and I think you’ll be able to hear them in the songs themselves. The title track “Sorry For Nothing” is one of them.
With this album and tour, what do you hope listeners and fans take away from your music and performances?
I hope they love what they see and hear and will go out and buy the album. The next time I come to their town or city they’ll all be there again with even more of their friends singing along with the songs I’m playing up there on that stage!
Instagram: @corymarksmusic
Facebook: @corymarksmusic
Twitter/X: @corymarksmusic
Website: http://www.corymarks.com
Photo Credit: Nick Manuell
Brisbane-based indie-folk songwriter Nick Cunningham has been showing consistent evolution in his brand of personal and intimate storytelling across a range of releases stretching back to his debut EP, Letters, back in 2015.
The music has painted some beautiful portraits that offer the listener a glimpse into Cunningham’s world of observations and influences; through into 2024, where Cunningham’s latest EP No Flowers, No Rain introduced yet another matured facet to his artistry.
Today, Cunningham releases another gorgeous addition to this ever-growing catalogue with new single, ‘With You’. Musically inspired by artists such as The Lumineers, Ziggy Alberts and The Dreggs, ‘With You’ was created to feel like, in Cunningham’s words, “a coastal road trip”.
Recorded at Studio Byron, Cunningham’s ideas for the track initially came together in Adelaide. As he describes, “I wrote the finger-picked guitar riff to this song in a hotel room in Adelaide the morning after meeting my now partner. We met while we were performing at an event in Adelaide of all places, and happened to live two suburbs apart in Brisbane. We had this trip away to the coast after a few dates and the lyrics really came from that.”
The stripped back recording came as a refreshing moment for Cunningham, who relished the opportunity to lay the track down in a different way – without a full band in the studio.
A natural charm and talent for weaving words together into striking arrangements has seen Cunningham perform at the likes of Splendour In The Grass and Bluesfest Byron Bay, as well as supporting the likes of Sons of The East and Kim Churchill.
With the release of ‘With You’, Cunningham is anticipating a great start to the summer, and the beginning of a brand new chapter of sounds as we head into the new year.
PRAISE
“It’s all about matters of the heart and here Nick sums up the push and the pull of relationships – and the angst that comes with ’em – with a smooth charm.”
TRIPLE J UNEARTHED, DAVE RUBY HOWE
‘With You’ is out Now
Nick Cunningham: Official Website | Facebook | Instagram | TikTok | YouTube | Triple J Unearthed
Photo: Tim Cotton
After selling out shows across the UK and impressing audiences at this years BIGSOUND conference, New Zealand indie up-and-comers NO CIGAR have today released their latest single ‘Chantilly’; a breezy, shimmering tune that boasts infectious lyrical charm and airtight performances from the band.
‘Chantilly’ is sonically captivating right from it’s opening bars, creating a vast atmosphere through layers upon layers of reverb-soaked guitars. Frontman Willy Ferrier’s vocal passages throughout the track are particularly memorable; with a dynamic, rhythmic delivery and ear-worm vocal melodies that stick around long after the song finishes.
Recorded between Auckland and Ashburton in New Zealand with producer Conor Jaine (Mako Road, Summer Thieves), the band explain that sound found on ‘Chantilly’ is a product of their environment during the writing process – and this time around it happened to be during their time in France.
“As a band, the process of songwriting is heavily influenced by the environment we’re in for those sessions. We typically travel to a new place, and park up somewhere with the instruments to help escape the distractions of our normal lives, and hone in on the music.
In 2023, with our European tour beckoning, we took time to park up in a small French town, Chantilly, just an hour north of Paris, where we would lock in for rehearsals and songwriting sessions before the shows. The picturesque beauty of the old town in Autumn set the scene for a series of tracks we wrote during that period” NO CIGAR
Carefully trying to capture the feeling they had during their time in Chantilly, the band grew frustrated trying to hit their mark creatively during their trip – but after a much needed break, the floodgates were opened and the band were finally able to find their inspiration for the song.
“Having flown halfway around the world to play shows and write new music, there was a very real pressure to produce something worthy of the beautiful town we were in (Chantilly).
As empty beer bottles progressively began to accumulate on the backdoor of our Airbnb, that pressure slowly began to build. We’d hit a bit of a wall creatively, or so it seemed, until we decided to clear the heads, and venture out into the picturesque autumnal embankments of the river that meandered through the town. Upon returning to our instruments, the valve was released, ‘Chantilly’ being the first of 15 songs that were written that very evening alone. The trip became very productive from that point on.” NO CIGAR
NO CIGAR have built a significant fanbase at home and abroad since forming in 2019. With 2 studio albums and an EP under their belt already, the band have been met with widespread acclaim from all corners of the industry – picking up 20m+ streams along the way.
The band have just completed their second tour of the UK – selling out the Islington Assembly Hall in London which holds a hefty 900 patrons. Over the years they’ve played at festivals such as Rhythm and Vines, Rhythm and Alps & the Coro Classic over in New Zealand, and supported hometown heavyweights Mako Road on tour in 2021. Their 2023 single ‘Concubine’ was voted #10 on The Rock FM’s annual Top 2000 list earlier this year, and peaked at number #3 on the Rock Charts in New Zealand following it’s release.
PRAISE
“..(‘Concubine’) is well constructed, featuring a wide range of instrumentation, taking a cool sonic turn halfway through. It starts out hazy and slow, but soon finds a crowd pleasing groove that’s bound to be received positively at shows and festivals this summer.”
ROLLING STONE (on ‘Concubine’, 2023)
“Each performance is a journey guaranteed to envelop you in romanticism, to the ever-evolving backdrop of a thumping sonic experience. With elements of alternative, folk, and indie rock, they also utilise groove-based rhythms with psychedelic undertones to keep your feet moving & your shoulders rolling.”
TWICE THE HYPE
“No Cigar has noticeably little banter, and are mostly here to play their music, which they do very well. The crowd was wild and some people climb onto their friends’ shoulders to see over the rowdy room full of music lovers. Anyone who’s not on someone else’s should is awkwardly pressed together as the venue was clearly at capacity, if not over”
13TH FLOOR
‘Chantilly’ is out Nov Now
NO CIGAR: OFFICIAL WEBSITE | FACEBOOK | INSTAGRAM | YOUTUBE | TIK TOK
“Snow Flower” is a powerful and evocative album title. What does it symbolize for you, and how does it tie into the overall message of the album?
Arising from my Tibetan background, the initial concept for Snow Flower was to contemplate the transient moments of human experience, the fleeting nature of life and our potential for positive transformation.
It sets out to create a feeling of tranquility, space and stillness and generate a sense of love, healing, mindfulness.
This album is a unique collaboration with Matt Corby, Rohin Jones, and Alex Henriksson. How did the idea for this project come about, and what was it like working together?
This collaboration arose from our friendship and our shared passion for music.
Working together was an organic process of listening, spontaneous improvisation and evolving ideas. We each came to the project from different musical backgrounds, but the process allowed us to step outside of our comfort zones and experiment with new sounds and textures. So, I think it reflects our diverse talents while creating a sound that is both fresh and intimate.
The title track, “Snow Flower,” blends traditional Tibetan sounds with modern elements. How did you approach weaving your nomadic roots into this contemporary meditative soundscape?
With Snow Flower we aimed to achieve a fusion between traditional elements and modern musical structures, allowing me to draw on my Tibetan nomadic essence. So, it evolved as an intersection between my Tibetan heritage and contemporary soundscapes. For me, it was a way of honouring my roots, while acknowledging the many influences that have shaped my musical journey so far.
You’ve said this album is a sanctuary of sound. What emotions or states of mind do you hope listeners will experience as they journey through Snow Flower?
I think this album beautifully creates a sense of stillness, like the calm of a snow-covered landscape. There are layered sounds, subtle shifts in tone and moments of quiet contemplation, so I hope the experience for listeners will be somehow soothing and restorative, like a breath of fresh air for the soul. But each listener is also free to reflect and make their own story within the music.
The album heavily incorporates the 432Hz frequency, known for its calming effects. What drew you to this frequency, and how did it influence the creative process?
Many believe that 432Hz resonates more harmoniously with the human body to create a sense of peace and relaxation. So, this approach influenced everything from tuning of the instruments to the overall sonic textures. For me this felt like a natural choice within the album’s theme, to create a sanctuary and space for contemplation.
Mantras and Tibetan Buddhist principles like compassion and loving-kindness are central to the album. How do you see these values connecting with audiences across different cultures?
Within the human condition we all share the same experiences such as suffering, joy and the wish for peace. Whether familiar with Tibetan Buddhism or not, the profound philosophy of compassion and loving-kindness has universal resonance which transcends cultural boundaries and embraces the common qualities of empathy, understanding and the need for connection. Snow Flower invites listeners to feel a sense of inner peace and compassion, not just for themselves, but for others as well.
“Snow Flower” was recorded on Bundjalung country. How did the environment and atmosphere of Rainbow Valley Studios shape the sound or feel of the album?
The recording studio is nestled in a very peaceful setting, so there is a definite connection between the land, the forests, the nearby coastline and the music. That connection gave a sense of grounding and space to explore subtle nuances and layers of sound. So, that created a natural, organic flow that I think listeners will feel when they hear the music.
The dranyen features prominently in the album. Can you tell us about its role in the music and why it was important for you to include this traditional instrument?
My instrument is the dranyen, a traditional Tibetan string instrument. I call her Metok, meaning flower. It’s quite a simple instrument with a sound that can be both earthy and ethereal – qualities that I wanted to infuse into the music. The rhythmic patterns and resonance of the dranyen balance the more expansive, atmospheric elements on the album. Including Metok, my dranyen on this album, also honours my Tibetan heritage which inspired the music for Snow Flower.
Matt Corby described Snow Flower as both functional and beautiful, a guide to life’s purest moments. How do you see the album as a tool for everyday reflection and mindfulness?
Snow Flower was written as a meditation on the impermanent nature of everything, a key tenet of Tibetan Buddhism. We can marvel at the beauty of a snowflake and how each one is distinctively different, but in the warmth of your palm it melts and goes away. Likewise, we can become attached to many things we enjoy in life but in the end, all are transient.
Snow Flower invites the listener to slow down, embrace the stillness that lies within and contemplate the human values of compassion, truth, loving-kindness and selflessness.
Enjoy the incredible Warner Bros. Pictures film on screen as a live orchestra plays the Grammy-nominated original score.
Australia, Sydney, – TEG LIFE LIKE TOURING is proud to announce the iconic Batman (1989) movie with a live symphony orchestra experience, “Batman in Concert” is coming to Sydney on Friday, 10 January 2025 at the ICC Sydney Theatre.
“Batman in Concert” is part of a global tour that brings the Warner Bros. Pictures’ 1989 blockbuster film directed by Tim Burton to symphony halls around the globe as part of the DC in Concert series. Tickets are on sale now, and are available to purchase via Ticketek.
The global tour originally commenced in Los Angeles at the Dolby Theater, before making 18 stops across cities in the U.S. and Europe before arriving in Australia.
Fans will enjoy the film on the big screen while Danny Elfman’s iconic musical score is performed by Sydney’s Metropolitan Orchestra led by esteemed Australian conductor, Sarah-Grace Williams.
As well as an enhanced concert experience, there will also be spectacular stage lighting, merchandise sales, and more. Attendees are encouraged to dress up as their favourite DC Super Hero or Super-Villain.
“After its resounding success abroad, we are thrilled to be bringing this incredible fan event to Sydney. Live symphony orchestras performing, to picture, every note from fan-favourite blockbuster films starring DC Super Heroes is an experience not to be missed, shares Rachael Carroll, Managing Director TEG Sport and Experiences. “We can’t wait to create unforgettable memories for existing fans and their friends and families as we tour “Batman” in concert.”
Released June 23, 1989, Warner Bros. Pictures’ “Batman” was the top-grossing film that year and has remained a fan-favourite for more than three decades. The film was composer Danny Elfman’s first collaboration with director Tim Burton and the score was later nominated for a Grammy award. Elfman’s “Batman Theme” has become an iconic piece, evoking the DC Super Hero for many generations.
Photography: Zane Taprell
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After a whirlwind year of sold-out shows across Australia, the US, UK, and Europe and the release of their critically-acclaimed debut album, the end of year countdown is on for Sydney duo Royel Otis!
Rounding out an absolutely huge 12 months for the band – which included four wins at the recent 2024 ARIA Awards, plus festival slots at Primavera, Reading & Leeds, Sziget and Boston Calling, sold out tours across the globe, and more – Royel Otis are Coming Home this month. Performing their biggest headline show yet at Sydney’s Hordern Pavilion on Saturday 21 December, after a landmark year this is fans’ chance to celebrate on home soil with the Sydney band that’s taken the world by storm!
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Watch: Royel Otis – If Our Love Is Dead
Royel Otis are pleased today to reveal two special acts also performing on the night you won’t want to miss:
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Joining Royel Otis at the iconic Hordern Pavilion is rising Sydney singer-songwriter Nick Ward, who’s been busy making waves in 2024. In early October, Ward released his debut album, House With the Blue Door, which featured the magnetic lead single ‘All Your Life’. Just last month he hit another milestone, supporting Troye Sivan on the pop star’s national Australian and New Zealand tour. Last week, he was named GQ Australia’s Breakthrough Musician of the Year. Ward recently captivated fans with his unforgettable Like a Version on triple j, delivering a stunning cover of Blink-182’s ‘Adam’s Song’. Nick Ward’s music transcends boundaries, weaving together elements of indie pop rock, emo, electronic and hip-hop to create a sound that is uniquely his own, and captivating audiences worldwide.
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Opening proceedings will be Aussie five-piece Le Shiv, who began as a band when they were living in in Los Angeles, after relocating from Sydney a few years ago. Now back home and post-pandemic, the band deliver searing guitars, ear-hooking melodies and gut-punching lyrics through songs that will either make you dance or cry… sometimes both. triple j namechecked them as an Unearthed Feature Artist to watch, thanks to singles such as their infectious track ‘I’m Fine, I’ve Said Too Much, But How Are You?’. 2024 saw the release of Le Shiv’s debut EP, New World Colour, which received widespread support from Spotify and saw the band take their infectious live show across the country.
With two unmissable acts joining the bill alongside the hottest band in Australia right now, this December show is going to be huge. Don’t miss Royel Otis, when they return to Sydney in just over two weeks’ time… tickets on sale now!
ROYEL OTIS – COMING HOME
+ special guests Nick Ward and Le Shiv
AUSTRALIA
DECEMBER 2024
Presented by Frontier Touring
TICKETS ON SALE NOW
via frontiertouring.com/royelotis
Saturday 21 December
Hordern Pavilion | Sydney, NSW
Lic. All Ages
ticketek.com.au
FOLLOW ROYEL OTIS:
Website | Facebook | Instagram | X | TikTok | YouTube | Spotify | Apple Music
Your debut single “Treading Water” garnered significant attention on triple j unearthed. How did that experience shape your approach to creating your second single, “Chore”?
I will always be so grateful for how ‘Treading Water’ was received. It was completely unexpected, I never thought that when I uploaded that track anyone would see it or really resonate with it. So It taught me to trust my gut and create the music that I want to make, instead of trying to give other people what I thought they wanted to hear.
“Chore” is an empowering track filled with classic teenage angst. Can you delve into the personal experiences or emotions that inspired the song’s lyrics and themes?
‘Chore’ was written about a month after my first real breakup, so writing this song was really empowering. For a minute there it did feel like the end of the world, but I think that’s pretty typical for a teenage girl getting out of her first relationship. I had given so much love, time, and effort into that relationship that I think he walked away with the mindset of “She’s so in love with me that I can go play the field and she’ll be there waiting when I come back”, so in a very dramatic way, this song was my way of saying by the time you figure out what you want, I will have found someone who appreciates all the parts of me that you once called ‘too much’.
You’ve mentioned that your songwriting is heavily influenced by artists like Missy Higgins, Noah Kahan, Lizzy McAlpine, and Phoebe Bridgers. In what specific ways do their styles and lyrical content inspire your own work, and how do you strive to maintain your unique voice within that influence?
My mum introduced me to Missy Higgins’ music when I was really little and I fell completely in love with her songs. She has probably been the biggest influence on my songwriting, particularly when I was first starting out. Mum and I still go to one of her concerts every year as a little tradition, and Missy will never fail to inspire me. Noah Kahan and Phoebe Bridgers became massive inspirations as I developed my own taste in music, Noah has had a great impact on my lyrics and songwriting while Phoebe has been a massive inspiration while developing my sound. Growing up in a household with such an eclectic music taste has helped me form my own sound instead of being too heavily inspired by one particular artist and I think that’s become very apparent through these first two singles. Right now is a great opportunity to play around with different sounds and genres, and it’s so exciting to just be focused on making music that feels honest and representative of me and how I’m feeling.
The production of “Chore” involved working with Spud Thompson at Elusive Creative. What was that collaboration like, and how did his production style contribute to the overall sound and feel of the track?
Working with Spud has been incredible. I feel so lucky to work with someone who truly understands and cares about my vision for the music we’re making, as well as bringing in their own unique sound and influence. Being a young artist is sometimes really difficult and intimidating but Spud has never made me feel silly for not knowing what a ‘plug-in’ or ‘headroom’ was. It’s a great but rare thing to have this sort of creative flow with a person, and I’m so lucky to have found that with someone who makes me feel so supported and seen.
Critics have noted the bold melodic strength and anthemic chorus of “Chore.” How do you approach crafting melodies that resonate emotionally with listeners while still being catchy and memorable?
I just try to write and sing how I feel. I believe listeners can always tell when an artist’s music is authentic and I think that’s exactly what has happened here. Sure, there are strategies you can use to refine your melodies like making sure there’s enough contrast between the chorus and verses. But for me, most of the time when I’m writing I’m just focusing on letting the words fall out and seeing where they land.
Your music has been described as contemplative and a little melancholy, yet full of heart. How do you balance these emotional nuances in your songwriting, and what do you hope listeners feel when they hear your music?
My biggest goal in music has always been to connect with people while staying true to myself. I just hope that my music resonates with people in a way that matters, whether that’s giving them a song to stare at the ceiling and cry to, or something to listen to while throwing darts at a photo of their ex.
As a young artist navigating the music industry, what have been some of the biggest challenges you’ve faced so far, and how have you managed to overcome them while maintaining your artistic integrity?
It’s definitely harder to be taken seriously, you’re always seen as a student rather than a peer.
It’s a two sided coin, there are a hundred and one people throwing advice at you on how to handle your career that you didn’t ask for, but there are also beautiful people out there who genuinely care about supporting you and your music, giving you thought out and well-meaning advice. You really just have to trust your gut and believe in yourself and your music and find people who truly want to see you succeed.
With over 20 shows played this year alone, how do you prepare for live performances, and what can audiences expect from your shows in terms of energy and emotional connection?
The shows I’ve played this year have been an absolute highlight. I drink an insane amount of herbal tea before each show and watching live performances of artists I love helps me get motivated. Playing live is probably my favourite part of making music, I love getting to connect with people in real-time and talk more openly about the messages behind each song.
“Chore” speaks to themes of self-worth and recognizing one’s value in relationships. How important is it for you to convey messages of empowerment and self-acceptance through your music, especially as a young artist?
I take great pride in the messages I have conveyed in both ‘Chore’ and ‘Treading Water’. As much as I write these songs as a way to process my own feelings, sharing my music and hearing how it resonates with listeners brings me so much joy. I wanted to start my career off on the right foot, so sending positive messages in my music has been a conscious decision.
Looking ahead, what are your aspirations for the future? Are there specific milestones or projects you hope to achieve in the coming years as you continue to evolve as an artist?
I would love to create a more full-length project like an EP. I’ve been planning one for a long time now, so I’m just waiting for the right time to make it happen. I’m so grateful for the opportunities I’ve been given this year and can’t wait to see where 2025 takes me but bringing this EP to life is absolutely my biggest goal for the coming year.
Website: https://www.natashakatemusic.com/
Triple j unearthed: https://www.abc.net.au/triplejunearthed/artist/natasha-kate/
Instagram: https://www.instagram.com/natashakatemusic/
TikTok: https://www.tiktok.com/@natashakatemusic
Spotify: https://open.spotify.com/artist/1OI1SnV3YFc7ODVYEt2cfG
Photo by Yuto Kudo
Tokyo-via-Sydney singer/songwriter Joey Sachi has teamed up with producer AKINAT on her latest single ‘7 Seconds’; a euphoric electronic-pop track that was inspired by the life story of classical musician Clive Wearing.
Born and raised in Sydney, Joey Sachi is currently living and working in Tokyo – a move that has helped her flourish creatively through work with some amazing artists and producers in the Japanese capital.
Inspired by artists such as Jamie xx, Mount Kimbie & Sabrina Claudio, Sachi’s sound feels like it could truly go anywhere. Not afraid to embrace new styles and textures, on ‘7 Seconds’ she continues to push the envelope, with compelling vocal modulation and dynamic melodies.
On ‘7 Seconds’ Sachi has teamed up with producer AKINAT, and the result is one her strongest releases to date – with a crisp, uplifting instrumental that complements Sachi’s soaring vocals perfectly. With deep roots in Australia, AKINAT is a Tokyo based electronic producer who draws influence from genre-defining electronic artists such as Four Tet and Jon Hopkins. AKINAT combines technical production know-how with subtle convention defying harmonic language in the pursuit of further afield sounds.
Sonically, the pair describe their time working on the track, as they “wanted to experiment making a track inspired by Fleetwood Mac’s ‘Dreams’ with a simple beat/layers and a topline influenced by Stevie Nicks’ melodic creativity.”
Joey Sachi has been surrounded by music since she was born – citing her parents as a key influence on her musical journey. One of her parents was a classical musician – which inspired Joey to eventually study classical music at the Conservatorium of Music in Sydney. In a full circle moment – the themes on ‘7 Seconds’ were directly inspired by British classical musician Clive Wearing; an accomplished conductor, Tenor and pianist who suffered from retrograde amnesia towards the end of his life.
“Clive Wearing is a British classical musician whose life was devastatingly impacted by a rare and severe form of memory loss. The profoundly beautiful part of Clive’s story is that his wife Deborah remained a constant in his life – the deepest of connections…almost instinctual, that despite his memory resetting every few seconds allowed him to always seek comfort amongst his fragmented existence. Inspired by his story we created ‘7 Seconds’, exploring the divine beauty in a love so deep, one that endures all the ebbs and flows of life.” JOEY SACHI
Since releasing her first single ‘If I Ask’ back in 2021, Sachi has continued to build momentum within all corners of the industry, at home and abroad. Making waves locally with airplay on stations such as 4ZZZ, 2SER and 2RRR, and praise from tastemakers such as Happy Mag, Backseat Mafia & AAA Backstage; Sachihas also seen seen support overseas, with adds to editorial playlists from Spotify & Apple Music in Japan for her collaboration with Japanese artist STAR GUiTAR on ‘One Way’ in 2023.
PRAISE FOR JOEY SACHI
“(Joey)Sachi is an artist with an immeasurable future ahead of her”
BACKSEAT MAFIA
“Australian songwriter Joey Sachi sketches new contours of her dynamic sound with ‘Reverie’, a new single that’s every bit as dreamy as its title suggests.”
HAPPY MAG
“Sachi’s original material is textured and diverse in its sonic influences”
BROKEN 8 RECORDS
‘7 Seconds’ is out Now
JOEY SACHI:Official Website | Twitter | Instagram | TikTok | YouTube | Triple J Unearthed
AKINAT: Soundcloud | Youtube
Two of the world’s biggest names in electronic music, Dom Dolla and Solomun, are set to make history with a one off, four-hour back-to-back set at The Wool Store. This Australian exclusive will take place on December 8th. Presented by 10 Years of Untitled and Good Fortune, this monumental celebration will feature a stacked lineup (to be announced) spread across multiple stages, as well as the world-class production Untitled Group has become synonymous with.
This collaboration isn’t the first for Dom Dolla and Solomun, who previously shared the stage when Solomun invited Dom to perform at his legendary Solomun +1 residency at Pacha Ibiza. This four-hour B2B marks the first time the two will perform together on Australian soil, set against the backdrop of The Wool Store—an iconic 1940s warehouse steeped in history reimagined as a European-style warehouse rave.
Australian dance music powerhouse Dom Dolla returns home amidst his sold-out national tour. Dom has experienced a meteoric rise to becoming a global sensation, amassing over 1 billion streams, recently winning an ARIA Award for Best Dance/Electronic Release for his record ‘Saving Up’, a Grammy nomination, and headlining festivals like Coachella and Tomorrowland.
Joining Dom is Solomun, whose ability to craft unforgettable sets has earned him accolades like Mixmag’s DJ of the Year, a Boiler Room set which has racked up over 66 million views, and his era-defining residencies at Pacha Ibiza.
Both artists’ connection to Untitled Group runs deep. With Dom having performed at Untitled’s flagship Beyond The Valley an impressive eight times, with Solomun’s connection to Untitled dating back to 2018 when he headlined his own historic Wool Store show. This B2B is both a homecoming and a celebration of shared history and nostalgia.
“Having Dom Dolla and Solomun together for our 10-year celebration feels like the perfect way to honor Untitled Group’s journey. Both artists have been pivotal to our story, and this back to back will be something truly special for our Untitled community,” said Nicholas Greco, Co-Founder and Managing Partner of Untitled Group.
Over the past decade, Untitled Group has redefined Australia’s live music landscape with flagship festivals like Beyond The Valley, Pitch Music & Arts, Wildlands and Ability Fest as well as artist touring, artist management and a booking agency. Their dedication to world-class events has seen them rise as a leader in the live music landscape over the past decade.
Tickets are on sale tomorrow now. Tickets are expected to sell out fast – don’t miss your chance to be a part of this historic event.
Words: Gabrielle Cruden
Photo Credit: Josh Ma
A fortnight ago, the Newcastle Entertainment Centre was transformed into a pulsating hub of music, art, and community as the Spilt Milk House Party brought its unique festival energy to town. With an impressive lineup of global stars, rising talents, and local favourites, the event delivered an unforgettable day that highlighted Newcastle’s growing appeal as a destination for live music.
The day began with a proud moment for Newcastle as Georgie Winchester opened the festival. Her set, featuring tracks from her debut EP Pretty Things and songs written during her extensive Australian tour, captivated the early crowd. I personally saw a few fans buying her G-string merch, which l am sure that a few lucky lovers will be seeing in the coming months.
Raave Tapes, another local gem, kept the energy high with their hard-edged dance-punk sound. Playing hits like “Goodbye” and “k hi,” they turned the floor into a lively dance party, reminding everyone why Newcastle’s music scene is one to watch bringing the kinetic energy to the dancefloor once again.
Sycco wowed the crowd with her jazzy, genre-blurring sound. Her live electronic set included fan favourites like “Dribble” and “Ripple,” alongside new tracks from her debut album Zorb. Her innovative performance style left a lasting impression and marked her as a name to watch.
Artemas delivered a theatrical, high-energy performance, transforming the stage into a mansion-themed house party. His magnetic stage presence brought tracks like “how could you love somebody like me?” to life. He also charmed the crowd with a heartfelt rendition of “I Like the Way You Kiss Me,” adding an intimate touch to his dynamic set.
The anticipation for G Flip’s set reached a fever pitch. Bursting onto the stage with a rainbow flag, G Flip performed a mix of new tracks from their album DRUMMER and fan favourites like “Drink Too Much.” Their cover of Taylor Swift’s “Cruel Summer” had the entire crowd singing along. G Flip’s ability to lead the crowd was unmatched— even those unfamiliar with their music were dancing and singing by the end. Their heartfelt gratitude toward fans created an emotional and inclusive atmosphere that was a true highlight of the day.
Troye Sivan’s Newcastle debut was a festival highlight. Fresh from the sweat tour with besfriend Charli XCX, Troye performed hits like “Got Me Started,” “Talk” and “My My My!” whilst backed by stunning production and dancers which made everyone lose their breaths. His connection with the audience reminded why he is Australian music Royality after taking out the ARIA for album of the year a few days earlier. Whilst Troye coming to Newcastle was not on my bingo card this year, no one was complaining as he performed banger after banger seducing his crowd his steamy set.
English rockers Glass Animals closed the night with a mesmerizing set, playing anthems like “Gooey” and “Heat Waves.” In their galactic set. Their dynamic energy was the perfect finale, leaving the audience dancing and dreaming of summer with the phones coming out once again for “Tokyo Drifting,” featuring Denzel Curry who is set to return to Australia’s shores once again next year.
As the echoes of Glass Animals’ final notes faded, the sentiment was clear: this event was more than just a festival—it was a celebration of Newcastle’s potential as a cultural hub. Events like Spilt Milk bring new energy to the city, attracting visitors and putting Newcastle on the map for major international acts.
Fans are already looking forward to what’s next, with hopes that Spilt Milk will return in its full glory next year. With its mix of global talent, local pride, and top-tier production, Spilt Milk House Party has set the stage for Newcastle to become a must-visit stop on Australia’s live music circuit with many local punters hoping that major touring artists will consider stopping in the years to come.
Congratulations on the upcoming release of Levitator! How does it feel to be sharing this deeply personal album with the world?
Jim: Like a deep cosmic sigh of relief. This album has been through global pandemics, marriages, births, and deaths. The songs are snapshots of different periods in our lives, and they represent so much of our personal growth, as well as our growth as a band. It’s been a long journey, and it feels nice to finally unleash it on people’s ears.
Your sound has been compared to legends like Nick Cave and Tom Waits. How do these influences shape your music, and how do you make it uniquely your own?
Jim: I think what really stands out about artists like Tom Waits and Nick Cave is their individuality and the sense of weirdness they bring to their music. It’s ingrained in everything they do, and their authenticity is key. Take Tom Waits, he can hear a metal stool being scraped across a studio floor and immediately recognise it as something musical. That kind of freedom in thinking allows them to push boundaries too. We aim to make music that’s grounded in rock and roll but with a few weird, unexpected edges.
This album was created during a period of grief and transition for the band. How did that experience influence the themes and energy of the songs?
Jim: I’m writing this on the anniversary of Yianni and I’s father passing, so this question hits a bit harder than it usually would. But that’s the way grief works, it never really goes away, it comes in waves, and you learn to cope with it. It paints your perspective of things going forward and you start to appreciate things you might’ve taken for granted before. Some of the songs came from the very depth of it, when it was still raw and painful and that’s reflected in the confusion, the anger. And then as you move forward you see colour in the world again, and without consciously realising that we were setting that feeling to music in the album, the way it begins is very dark and minimalist and then ends on a note of optimism.
The lead single, ‘God Mode,’ and tracks like ‘Dance The Evil’ and ‘Well of Wishes’ showcase a range of moods and styles. How did you approach creating such a dynamic tracklist?
Jim: The easy answer is, we didn’t! We’d been living with these songs for so long that we all had our own ideas about how the album should flow. So, we got together and played the album this way and that way, front to back, back to front, and then our manager proposed a tracklisting, and it just worked. It was like that scene in Some Kind of Monster where the therapist hands Metallica their lyrics, only this time, it actually worked.
Lindsay Gravina has worked with some iconic artists. What was it like collaborating with him, and what did he bring to the production process?
Jim: He was integral in helping us cement the sound we’d been hearing in our heads. We were all familiar with his work with Magic Dirt and Rowland S Howard but his level of collaboration in getting the right sound for a track was second to none. Plus, after years and years working together, only towards the end, did I ever see him drink water. We’d work pretty much exclusively at night. I showed him the trailer for the new Nosferatu movie and he smiled and said it looked like a nice documentary.
The name Levitator feels symbolic. What inspired the title, and how does it tie into the album’s overarching themes?
Yianni: In a way, the whole album is about navigating tension, between light and dark, grief and healing, confusion and clarity, and Levitator became the perfect metaphor for that space where you’re caught between the earth and the sky. It’s about finding balance in the turmoil, or at least a way to keep moving, even when it feels impossible. The title Levitator felt big and epic enough to carry the weight of that journey. And I think Dodecahedron was already reserved for Liam Gallagher.
Your lyrics often explore raw emotions and introspection. What’s the process for crafting such honest, poetic songs?
Yianni: I have a lot of personal meltdowns.
Society of Beggars has built a strong reputation for its live performances. How does your approach to playing live influence your songwriting or recording process?
Yianni: When we play live, whether it’s an incredible night or a rough one, whether you’re with us or not, we give everything we have. We’re loud, heavy, and emotional. We bring that same energy into the studio. We don’t hide behind artifice or gimmicks. We’re not pretending to be something we’re not. We’re not trying to be “bogan rock” or “yacht rock,” or any other persona. We are who we are, and that’s what you get.
Rock music has evolved significantly over the years. How do you see your place in the current rock landscape, and what do you hope to bring to the genre?
Yianni: Rock and roll is a spirit. For those of us who still find comfort in it and are captivated by it, there’s a responsibility to ask: what does it mean in 2024? Is it just about macho bullshit? Or longing for the days of yesteryear? I really hope not. I hope it’s about people making music that’s not afraid to be vulnerable, intense and honest.
With the album release on the horizon, what’s next for the band? Are there plans for tours, music videos, or new projects?
Yianni: We’ve got plans for all three. We’ll be hitting the road soon, shooting a new music video, and keeping the creative fire burning on for whatever comes next.
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