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Previous Support for McDermott & North
“this is such feel good 60s tinged pop that backs up the positive spin on bad stuff happening message with a sunny sounding song.”
4 / 5 (Declan Byrne, Triple J) [About ‘All Things Come And Go’]
“After jamming out to ‘All Things Come and Go’ for months, I thought I’d better explore the McD & N back catalogue, and I’m not disappointed! This is gorgeous, and just affirms my love for McDermott & North! These guys are all class.”
(Lachie Pringle, Triple J) [About ‘All Things Come And Go’]
“Definitely hearing the Kinks influence here. I can’t give higher praise than that. Really lovely classic songwriting: a little bit sunny, a little bit wistful, a joy to have in the ears.”
(Dan Condon, Triple J) [About ‘All Things Come And Go’]
“Patrick McDermott and Rhys North, have spent the past number of years carving out a sound that feels both grounded and explorative; it’s rooted in an earnest kind of folky warmth, but stretches into spaces of pure melodic ecstasy. Seriously, these guys really know how to write a chorus.”
(Happy Magazine)
“Clearly dedicated to the preservation of the song…”
(Gary Crowley, BBC Radio)
“A slice of gorgeous, blissful pop”
(Mark Rogers, RNZ)
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Congratulations on the release of ‘Bittersweet At Best’! How does it feel to have new music out there? Thank you! It’s so exciting! I have been working on this song for a really long time and to finally be able to share it in all it’s melancholic glory is amazing!
It’s not the first piece of music from you in 2022 – how does the experience of making this track compare to ‘I’m Fine, Thanks’? I actually worked on them one after the other. On fine thanks we had a I think about 30 backing vocal tracks to create that waterfall of ‘fine’ and a lot of overlaying lead parts from me. So when we moved onto Bittersweet it felt like a walk in the park because it was so intentionally stripped back.
Tell us about the team you worked with on ‘Bittersweet At Best’: who were they and what was it like to work with them? The same team who worked on ‘I’m Fine, Thanks’ worked on this one, Cody McWaters, Dan Sugars, Kieran Stevenson, Michael Muchow and of course, me! It’s so wonderful to work with them because they are some of the closet people in my life and know me and understand me so well that it just makes for a really safe space to create.
How do you think your songwriting approach has changed since releasing your album Spectacular Heartbreak (if so, how)? I think the only thing that might’ve changed is I trust myself a bit more. I feel like when I was writing SH I would get halfway through a song and it wouldn’t be quite right and I would immediately go to the idea that I needed a co-writer to finish it. Which worked out pretty well on SH of course! But I think for this record I have put a bit more effort into pushing myself to try to be my own editor.
‘Bittersweet At Best’ feels like such an emotional track: do you pull from real life experiences when writing your material? Definintely! Funnily enough this song just kind of fell out and I didn’t actually think much of it when I first wrote it. It wasn’t until I was tracking some demos with Dan and Kieran and I had jumped on at the last minute to do this one by myself. I looked over at them when I had finished and they were both about to cry. So I figured that maybe the reason it was so easy to write because so much of this song feels like it was just sitting in my subconscious. I always feel like the only way I can write something special is writing what I know.
Do you have any specific reference records or artists you find yourself returning to with each writing session? Not so much when I go into writing sessions but certainly when we are working up a song in the studio. I think my cornerstone for incredible writing and experimenting is and will always be Taylor Swift. Her writing has always told stories no matter what genre she is playing in. And that’s something I always hang onto when I’m creating.
What’s coming up with you as we head into the rest of the year, with your music, that is exciting you? Right now I’m finishing up my second album that I crowdfunded earlier this year with the same team I’ve been working with on these last two songs. I’m also playing some of the new record live at festivals like Deni Ute Muster (September 30) and Groundwater Country Music Festival (October 30), I’ll also be doing my annual christmas show which I’ll be annoucing next month! Then gearing up for a big album release and tour next year!
Can fans expect a new album on the horizon? Yes indeed! Album 2 is on the way in 2023!
Sudden Debt are a three piece from Melbourne, the band uses noise, tremolo, delay, drum pads, vocal effects and bass chorus to create a unique and experimental sound. Band members include members of Heart Beach (Spunk!, Kingfisher Bluez, Rough Skies) and Ivy St (Wireless).
No Data is the third track of a series of three singles following the recently released DD and IIHLL.
A celebratory show will be held on the 29th of September at Nighthawks (Melbourne) w/ Techno Biddes & Orbits
Quote about ‘No Data’ from Jon from Sudden Debt,
“No data was recorded at Heap Gap in 2022. It’s the third and final 2022 single from Sudden Debt. The three singles were tracked in half a day. Less than an hour for No data. No data is necessarily simple. The simpler the track the higher the likelihood it could be preserved. The vicissitudes of life were corroding our music at the time: work, lockdowns, travel, ageing, cost, procrastination. Calendrical bass, unintelligible vocals (you can’t understand and so are not distracted by the “words”), a stripped back electronic kit that you can plug in quickly and play really loud in a really small room”.
Instagram
https://www.instagram.com/sudden.debt/
Spotify
https://open.spotify.com/artist/4HRhgItXkch05nZo7kl8iS
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Location: Prestwold Hall Estate, Loughborough
Register: https://www.dcentralize.io
DCentralize Festival will put the power back in the hands of the music community by transitioning into a DAO, enabling token-holders to participate in decision-making of the festival.
By joining the DCentralize community, tokenholders will become part of a grand collaboration driven by shared values and transparent communications, which levels the playing field making access available to all.
Music Coordinator Sarah Main is an acclaimed Ibiza DJ, producer, NFT artist and event organizer whose entire life has been spent submerged in art, music, and mixed reality.
Symbiotic and Hardware are pleased to announce that iconic group Above & Beyond are returning to Australia for a headline set. Featuring a stellar, curated line-up of artists from their labels: Anjunabeats, Anjunadeep & Reflections. The camping festival, Group Therapy Weekender Australia will be held at Yarra Valley Estate for the band’s first ever multi-day festival down under.
Taking place between Friday 16 December and Sunday 18 December in Victoria’s breathtaking Yarra Valley, ‘Group Therapy Weekender Australia’ is an intimate camping getaway for Australia’s ‘Anjunafamily.’ There will also be a program of wellness activities and workshops to enhance the experience, surrounded by the picturesque landscape that surrounds the region. There will also be an offering of the very best food and drink, from Yarra Valley and beyond.
**Just announced**
Above & Beyond make their return to Sydney on Friday 16th December. This is the group’s first show in Sydney since 2019 and their third time playing at Hordern Pavilion.
Catch the guys before they head to the Yarra Valley for their camping festival.
This is the Anjuna’s first festival event in Australia and follows on from the success of ‘Group Therapy Weekender’ at The Gorge, Washington State, which welcomed 23,000 campers last July and ‘Group Therapy Weekender’ London at Dockyards.
One of the world’s best-loved electronic groups, ‘Above & Beyond’ have headlined arenas around Australia over the last decade, bringing their anthemic dance songs to tens of thousands of fans.
About Above & Beyond
‘Above & Beyond,’ or Jono, Tony and Paavo as they are better known to their legions of fans around the world, have been at the forefront of electronic dance music for two decades.
Founders of the iconic ‘Anjunabeats’ and ‘Anjunadeep’ record labels and hosts of the weekly radio show ‘Group Therapy,’ (which reaches millions of dance lovers every Friday), the trio have earned two GRAMMY™️ nominations for anthems: ‘Northern Soul’ feat. Richard Bedford and ‘We’re All We Need’ feat. Zoë Johnston. In 2018, the band’s fourth electronic album, ‘Common Ground’ debuted at number three on the ‘Official Billboard Album Chart.’
Described by UK music bible ‘Q Magazine’ as “the world’s biggest cult band,” Above & Beyond’s enviable list of sold-out shows, includes headline performances at historic venues such as: ‘Madison Square Garden’ NYC, ‘The Hollywood Bowl’ LA, ‘The Sydney Opera House’ Sydney, ‘Royal Albert Hall’ London, ‘Red Rocks Amphitheatre’ Colorado and record-breaking turnouts for their own festival events on LA’s Huntington Beach and at The Gorge Amphitheatre in Washington State.
Songwriters first, producers second, ‘Above & Beyond’s’ unwavering commitment to their craft, has fuelled a career that many electronic artists today might only dream of. With four acclaimed studio albums under their belts, 14 compilation albums, two ‘acoustic’ albums and a stand-alone album for yoga and meditation, not to mention innumerable club cuts and dance remixes, the band continue doing what they love and bringing happiness to their countless fans all over the world.
Group Therapy Weekender Australia:
EVENT DATES:
Friday 16 December – Sunday 18th December – Yarra Valley Estate, Victoria
Friday 16 December – Hordern Pavilion, Sydney
YARRA VALLEY:
Register for early access to tickets now! – Click Here!
Registrations close: Monday 3rd October at 9pm
Pre-sale begins: Tuesday 4th October at 10am
General Public On-Sale begins: Wednesday 5th October at 10am
SYDNEY:
Register for early access to tickets now! – Click Here!
Registrations close: Wednesday 5th October at 9pm
Pre-sale begins: Thursday 6th October at 10am
General Public On-Sale begins: Friday 7th October at 10am
For More information, go to:
Website: www.aboveandbeyond.nu/australia
Facebook: @aboveandbeyond
Instagram: @aboveandbeyond
Twitter: @aboveandbeyond
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Joseph –If we had to pick one food that epitomized our band, it would probably have to be pizza. Mostly because that’s what we tend to eat together before a gig. As for hanging out, the concerts and gigs of other great bands!
Photo by: Trevor Conrad
Telling an intimate story about changing lives and circumstance ‘Lonely LA’ proves Able Joseph’s talent for writing heartfelt mid-tempo classics. The song surrounds the listener with sentimental melodies, captivating production and an outro that begs to be sung by a crowd, acapella into the night sky.
Already racking up a legion of followers (80K+ on Spotify alone), Able is a stellar talent, signed to Sydney indie label Double Drummer, home to Greta Stanley, Dominic Breen and Cousin Tony’s Brand New Firebird.
Speaking of the tender meaning behind the new single, Able says ‘There’s a beautiful side to two people having to adjust to life’s curveballs and facing change as a team — be that changing dreams, homes, realities… this isn’t a love song, it’s a relationship song.’
Able Joseph
Showcasing his creative spark and versatility as a storyteller, the cosmic journeyman enlisted gifted animators, LA based, award-winning Trevor Conrad and Edinburgh based Karina Budnariu to work with him on the visuals for ‘Lonely LA,’ as part of Able Joseph’s unfolding narrative. Coming together in a sonic union of talented musicians, ‘Lonely LA’ was produced by Grant Konemann (Glades) in Sydney and off the shoulders of Orion, with mixing and mastering by Matthew Neighbour
(Matt Corby, Tash Sultana).
‘This song is a homage to songwriting. We wanted to keep the structure as simple as possible but still weave in different moments and transitions that take you somewhere unexpected. The outro is a deeply honest conversation between two people and the production reflects that; it’s closer to the mic, more intimate and raw. I’m really proud of the story we tell.’
Able Joseph
‘Lonely LA’ follows on from ‘SOLO’ which received a slew of support earlier this year, including triple j Home and Hosed airplay and Apple playlisting (Amped Up and New In Alternative). He has supported Cousin Tony’s Brand Firebird on tour and his collaborators include UK dance artist GRUM. Together they secured playlisting support on Spotify (Dance Rising, New Music Friday, Trance Mission, Nightrider) and Apple (New In Dance, Trance and Progressive) with over 2 million streams on Spotify and counting. Able has previously co-written with a stellar list of acts including Jaguar Jonze, Hauskey, Bec Sandridge, Jordie Ireland, Third Party, Yorke, Xavier Dunn, Cyrus, Eliott and Woodes.
PRAISE FOR ABLE JOSEPH
“A big slice of heartfelt, rousing indie that could bring a big room to their feet!”
Declan Byrne, Triple j
“Joseph’s more than able from the sounds of it… There’s something so warming and rousing about this one.”
Dave Ruby Howe, Triple J
Single: Lonely LA is out via Double Drummer on Wednesday 14th September
Official Website | Facebook | Twitter | Instagram | Youtube | TikTok | Triple J Unearthed
million are back with a double single ‘bed / he looks better on me’ – one, a casual dating anthem about taking control and changing the narrative, and two, a confident and ‘pass-agg’ message to a partner’s former lover.
With bass heavy verses, 808 drums, dynamic vocals and brutally honest lyrics, ‘bed’ highlights and celebrates the empowerment that comes from shifting expectations, accepting situations and letting yourself have fun.
“We wanted to explore two realities that play out at different times when dating: the first, that sometimes it’s just about physical attraction and chemistry. The second, that if it’s more than that, you have this person’s past life to reckon with. Both songs have themes of taking back the power.” With catchy hooks, 80’s references and the classic million sass that their fans have come to expect, ‘bed / better on me’ is another ear worm from million’s 2022 repertoire.
‘bed/he looks better on me’ will be available worldwide on the 16th of September, 2022.
Artist Biography:
million is an emerging self-produced pop trio based in Melbourne/Naarm. Having formed between lockdowns in June 2020, the group spent the following six months working virtually on demos and discovering their sound.
By summer 2021, the band were ready to release their shimmery pop tracks into the world, debuting with ‘problem’ and following up with ‘mess we made’, ‘200 days’ and ‘deja vu’. Each song told a story through catchy hooks and lyrics that didn’t shy away from heavier themes.
Now, million are back with a full schedule of gigs around Melbourne and a huge double release – ‘bed/he looks better on me’.
million tell stories inspired by both personal and universal experiences, delicately interweaving lyrical melodies and narrative with their love of synthy, beat-driven electronica.
We spoke with Brett Hornall of The Vidos..
Where are you currently based?
I’m currently in my broken down 2001 Civic on the side of the highway waiting for a tow somewhere in Surrey, BC. The band, however, just recently moved our HQ to beautiful Mission, BC and I’ve never been happier. I mean… besides that time ten minutes ago when my car was working properly.
How did The Vidos form?
Kirk and Nolan met during their golden years playing for the Langley Eagles hockey team when they were 11 years old. At the start of the season Nolan’s dad had just had his driver’s license confiscated by the RCMP due to a DUI (who knew a bong would look bad in your front cup holder?). This posed a problem from their first tournament trip down to Bremerton, WA as Nolan was their star-studded goaltender. Kirk’s grandpa offered to take both of them down so they convoyed all together; made for a hell of a time at the border I hear… The four of them shared a hotel room together which is where Kirk and Nolan got to know each other while the future Vidads were out facedownin a pile of nachos at the local pub. This gave the boys lots of time to talk about music and share their love for Ronnie James Dio. When they returned, Kirk and Nolan spent years scouring and posting ads on Craigslist which is where they found a ton of weirdos — including the one and only ME, Brett Hornall.
What’s been happening recently?
Kirk (guitar) was living on the band bus for the last four or five months until we sold it, now he’s living in the rehearsal space washroom, Nolan (drums) just bought an apartment with his cats, and I moved back in with my dad when we got back from Toronto (guess which one of us is good at Monopoly). We also just signed a record deal with our longtime friends Danny Craig and Dave Benedict on their new label Rock Is Dead Records here in Vancouver, which is a very exciting thing for all parties involved.
What or who influenced the sound and songwriting for your latest single ‘Boomshackalacka’?
Kirk and I had been listening to a lot of r&b at the time and I was particularly into The Internet, so the main skeleton of the song I think was me trying to do something they might do. Then I got self-conscious about it and was like, “okay this is cool but what if a band like Mother Mother or DFA tried to write the chorus?” In terms of structure we ended up going for that laid back, vibey verse and Impossible Beef chorus thing going on that Tame Impala or like Tegan and Sara do so well.
How did you go about writing ‘Boomshackalacka’?
Like I said about trying to lean into some r&b type stuff, I think at a certain point I got nervous about how different it was and tried to contrast that with a big, sorta riffy chorus that had been somewhat of a hallmark for us in the past. The lyrics of the chorus kinda cop to the fact that I chickened out on going fully outta my comfort zone to instead rest on my laurels, haha. The whole song has this “hey, look at me, I‘ve got no game” quality to it that I think is pretty par for the course if you’ve ever met us.
Where and when did you record/produce/master and who did you work with?
We recorded this entire puppy last July and August with Danny Craig in his garage in Chilliwack, BC. From there the completed record was sent down to Tom Baker in Cali for mastering.
How did you approach the recording process?
This time around was different than any session we’d previously done — we recorded a whole record from front to back in track listing order, one instrument at a time. We decided on the song order during pre-production and stuck with it. It’s pretty neat because you can hear the record really develop as it goes on. That being said, “Boomshackalacka” was the first song we cut so we spent a lot of time on that one! The sounds and lyrical themes we found for “Boom” really shaped the identity of the rest of the record.
What can we expect from the upcoming music video for the track?
It’s a six-minute epic — we’re calling it our “Thriller”. It’s incredibly ridiculous, highly entertaining and is absolutely our magnum opus.
You’ve just signed to a brand new record label ‘Rock is Dead’ how did this come about and how has the experience been so far?
They call it “Rock is Dead”, we call it “Two Dads and a Laptop”. We absolutely adore Danny and Dave, we’ve been friends and collaborators for almost ten years now so it was absolutely a no-brainer to do an entire record with them for imaginary future money. In this economy? Get outta here.
Who are you listening to at the moment?
We’ve been on a big 1975 kick lately; Nolan’s rewatching the OC, so every song from that; the Tarzan soundtrack; Upsahl; Remi Wolf; and I’ve been getting back to my roots with some Fall Out Boy and that first Specials record. There’s also a great, virtually unknown band from New York called The Prigs that I ask anyone who will listen to check out. Specifically their song “Crush”.
What do you like to do away from music?
It’s no secret we all like to enjoy some fine (and not so fine) spirits here in The Vidos camp, which has slowly developed from a problem to a passion. We’ll often get together and crack open my great grandfather’s WW1 cocktail book and see what we can do. Of course, it’s a luxury for us to use a shaker tin instead of gramps’ old lead canteen container and we respect our privilege immensely.
What’s planned for the remainder of 2022 going into 2023?
Finishing our new tour rig has been the big focus for the last 5 months and we’re just about at the finish line. We’re going to be rolling around with the most efficient rig ever conceived by people kind. Once finished we look to take aim at dominating the Christmas scene while dropping another Vidos heartthrob. Santa’s never looked so good. In 2023… it begins.
Favourite food and place to hangout?
We have this joint in BC called Triple-O’s and it is the best fast food burger you’ve ever had in your bloody life. You’d be hard-pressed (much like tha 100% fresh Canadian beef patty) to find us anywhere else on a Tuesday when the burgers are six bucks.
Facebook: /thevidos
Instagram: @thevidosband
TikTok: @thevidos
Twitter: @thevidosband
Website: https://thevidosmusic.com
Where are you currently based?
I’m currently based in Antwerp, Belgium.
How did you first start playing music?
Around age 10 I started playing classical piano. Not for long though. A couple of years later I quit and didn’t play any music for a year until I sat down at the piano again aged 14 and wrote my first song.
What’s been happening recently?
Mostly promo for the new album and I’m currently on tour in North America.
You Don’t Own Me’ is your latest single and is out now, how did this track come about?
When I was still living in Amsterdam I rented a bedroom at a friend’s house which had a piano in it. Every morning and evening before and after my lessons I would play. I always kept the silencing pedal on because our neighbors downstairs hated noise of any kind. Often they complained during the day which I thought was very silly, but sometimes when I played later in the evening I guess they had a point. When the first chords and melody arrived of ‘You Don’t Own Me’ I knew it was past a reasonable time to play but there was a big sense of urgency that made me sit down at the piano anyway. Only years later, funnily enough when I was visiting Amsterdam again (I didn’t live there anymore) I re-listened to the recording on my phone and started humming a melody for the verse and working on the first lyrics sitting in a hotel bar. To me the lyrics aren’t directed towards a specific person, group, or place of power. It’s more of an ode to Freedom and a stance to any form of oppression. I hope oppressed individuals and/or groups can find solace in a song like this.
What does You Don’t Own Me mean to you?
I had just read ‘Man’s Search For Meaning’ by Viktor E. Frankl, which has become one of my favorite books, and of which these quotes came to mind when I was writing ‘You Don’t Own Me’:
“Even the helpless victim of a hopeless situation, facing a fate he cannot change, may rise above himself, may grow beyond himself, and by so doing change himself. He may turn a personal tragedy into a triumph.”
“Is this to say that suffering is indispensable to meaning? In no way. I only insist that meaning is available in spite of – nay, even through – suffering, provided that the suffering is unavoidable. If it is avoidable, the meaningful thing to do is to remove its cause, for unnecessary suffering is masochistic rather than heroic. If, on the other hand, one cannot change a situation that causes his suffering, he can still choose his attitude.”
Your album ‘Sahar’ is out on September 23, what influenced the sound and songwriting?
I played a lot of oud, which is an Arabic lute. I used it both to write songs as well as a prominent color in the arrangements.
Please tell us about the songwriting writing process that you went through for Sahar:
The beauty of songwriting is its mystery.
Where were you whilst writing the album and did the location affect the album in anyway?
I was most often in Antwerp. It was mainly the fact that I was home again after a long tour that gave me space and time to write the album.
Where and when did you record/produce/master and who did you work with?
I started recording at my place, a lot of those early recordings ended up on the album. We then recorded a lot at co-producer PJ Maertens’ studio, ICP and Jet studio’s in Brussels. 6 songs were mixed by Jon Low in Long Pond studio. The 4 other songs were mixed by other co-producer Jo Francken and PJ. The mastering was done by Dave Kutch at the mastering palace.
How did you approach the recording process?
We left a lot of room for experimentation in the studio. I feel like the character of each individual musician shines through really well.
What’s planned for the remainder of 2022 going into 2023?
Planned for the rest of 2022 and 2023 is tour. Finishing up the North American tour end of October. We take the tour further into Europe right after and will announce new dates for 2023 very soon.
Play Sahar
Title: Flavour
Label: Musical Freedom
Download / Stream
BYOR is back on Tiësto‘s Musical Freedom with his new single “Flavour,” which is another shining example of his energetic and dynamic sound. The track opens with full, dynamic basslines and a vocal riff that just begs listeners to put their dancing shoes on and get on the dance floor. BYOR ups the ante on the drop with future house-inspired synths and uptempo beats, making “Flavour” the perfect track to kick off a party weekend. As summer winds down into fall, the electronic music scene heats up indoors–and you can be sure that “Flavour” will be on the menu. It follows BYOR‘s Spinnin’ Records release “Say Yes” from August and his breakthrough hit “Belly Dancer” with Imanbek, which dropped on Musical Freedom back in February and is still going strong on Spotify with over 160M streams at the moment.
Since 2020, BYOR has made a household name for himself on Tiesto‘s Musical Freedom and AFTR:HRS labels with releases such as “Feel That Way’,” “Keep On Dancin’,” and more. After listening to his tracks, it’s clear that BYOR makes his own rules to the game of life and music, with his style ranging from tech house to big room and more. BYOR had his breakthrough moment this year in February with “Belly Dancer” with Imanbek, which has already clocked up over 160M streams on Spotify alone since its release and became a recognizable dancefloor filler. Keep an eye out for more from BYOR coming soon.