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This week, Melbourne band The Stained Daisies released Individuality (Is Fine As Long As We Do It Together) — the first single from forthcoming EP Give It To ’em, set for release in late February 2022.
Following six lockdowns, a couple of hoe-downs, a naughty rub-down, and at least one meltdown, The Stained Daisies are back for another bite of the biscuit with their most exciting release to date.
A musical exploration of the confines and traps of identity politics, focusing on ‘the group’ versus ‘the individual’, Individuality (Is Fine As Long As We Do It Together) is the band’s first foray into poetic punk. In the words of bass player and vocalist Jack Davison:
“‘Individuality (Is Fine As Long As We Do It Together)’ aims to make people realise that at a base level, we’re all just kooky little individuals trying to figure out this big bad world.”
With a sometimes collaborative, sometimes individual writing process commonplace for The Stained Daisies, bass player and vocalist Jack Davison took the lead for this track. After waking up one morning with the chorus in his head, he swiftly recorded all of the instrumentation before jotting down the lyrics to the verses. Three months later, after playing the track live several times, Individuality (Is Fine As Long As We Do It Together) was recorded by the entire band at Max Duckers ‘Cellar Sessions‘ studio in Coburg.
The track’s title is a quote from an episode of American war comedy-drama television series M*A*S*H — in which army Major Frank Burns famously declares the statement while discussing military uniforms and the army’s attempt to make its personnel look, talk, and act the same. Davison explains:
“When I first heard the line, I thought it was so clever, so I pocketed it away in my brain for later use. Then one morning, it just popped into my head, and Bob’s your uncle.”
Conceptualised during the lockdown of 2021, when, to keep sane, Davison immersed himself in film and literature centred around the rise of identity politics and the positives and negatives that it ensues, he began to delve deep into the homogenisation of groups and labels at large. In Davison’s own words:
“Sweeping generalisations such as; ‘all teachers vote labour,’ ‘all Black Americans vote Democrat’, ‘all left-leaning Australians watch ABC’ and ‘all right-leaning Australians watch Sky News’ can be dangerous. The prevalence of these types of stereotypes makes it easy to forget that groups encapsulate individuals, and, at an individual level, everyone is different and unique.”
With varied musical tastes and influences within the band, the single is a sonic shift away from the band’s usual style of blues and rock — with Davison taking inspiration from punk outfits like Dr Sures’ Unusual Practise. On his influences for the single, Davison continues:
“We’re good mates with Dougal Shaw [of Dr Sure’s Unusual Practice], and he has always inspired us in the way that he writes about politics. In terms of the lyrical content, he was a major influence for this track and the body of work that will follow”.
The artwork for the single is by local Melbourne artist and graphic designer Emily Wright. Her depiction of seven identical humans standing in a line, with one unique being emanating from another, perfectly encapsulates the track’s core theme: the group versus the individual. In Davison’s concluding words:
“The track is a floor stomper, intended to be listened to loud. If you wanna feel the driving rhythm, then crank it right up!”
Individuality (Is Fine As Long As We Do It Together) is available on all major streaming platforms now. The Stained Daisies will launch their new single at The Tote Hotel on March 11. Details HERE.
Where are you currently based?
I’m currently based in Sydney, Australia.
How did you first start playing music?
As my parents would confirm, I was always a shy and reserved child. I needed to be confident I could do something perfectly before attempting it. Strange, I know. But that’s where the music came in; I grew up in a household that loved The Eagles and other bands of the sort. By four years old, I realised music was my escape. I was no longer anxious. I was no longer scared, only excited. Innocently beautiful beginnings that have led me to a wonderful world of creatives and friends.
What’s been happening recently?
Over the past year, I have indeed found my sound and direction in the industry, from making EDM pop to indie, stripped back tunes like ‘compromised.’ I wrote a lot, some good, a lot not so good (like I’m sure everyone does). Both with others and by myself. I made a choice in 2021, after moving from Melbourne to Sydney, that I would spend time refining my craft rather than proving to people that I was “doing things” online, and that’s exactly how ‘compromised’ came about.
Your latest single ‘Compromised’ will be released on February 10, what influenced the sound and songwriting?
‘Compromised’ draws inspiration from all arms of the indie scene. We wanted to create an epic, symphonic ending that encapsulated the breakdown and heartbreak in the lyrics. We drew influence from tracks such as ‘All I Want’ by Kodaline to achieve this.
For the overall vibe, I was, and still am, heavily influenced by the likes of Chelsea Cutler and Holly Humberstone for both the sound and songwriting.
How did you go about writing Compromised?
‘Compromised’ came about in typical pandemic zoom session fashion. I had never written with Noah Vernon (my co-writer) before, but for some reason felt like I could tell him about everything I had been going through. It’s funny to look back at that moment now; little did I know it would form such a beautiful friendship.
The song foundations came from a song called ‘Runaway’ by Half.Alive. I had noticed the person I was seeing casually at the time liked it, and we thought it would be a cool idea to flip the band name and title into a sad-girl tune about how confused I was.
I find that weird, quirky ideas always create the most remarkable and unique songs.
What’s the story behind the single?
2021 was a weird year for me.
From initial excitement to complications and compromised moments, I learnt a lot about myself and who I am in relationships (unlabelled or not).
Sometimes things in life are hard to explain. Not always black and white. Not always meant to work out, no matter how much you want them to.
Written in a time when things were so intense, so caring, yet so hurtful. Weirdly I’m still trying to find the words to define what I went through. Amid an entangled situationship, I lost a friend, someone I would’ve done anything for, picked up the phone at any moment. I compromised a lot, and that’s where this song comes in.
Where and when did you record/produce/master and who did you work with?
I was more than excited to work with Ben Oldland on this track. From the minute we sent over the song, he got it. He got the references. He got the end goal. Noah and I talked about how insanely talented he was and how right he was for the project. His creativity and skill are insane, and I’m honoured to have collaborated with him on my 2022 releases.
Nick from Panorama Mastering put the final touches on a song so dear to my heart.
How did you approach the recording process?
It was different from how I had previously recorded tracks as it was entirely over Zoom. Creating the right vibe and tone in the room is hard virtually, but the boys made it seamless and easy.
I always include co-writers in every stage of the process, so Noah was a part of all of the recording because a song is a team effort, no one person.
What’s planned for 2022?
I’m more than excited for 2022. I have a few more releases planned, but I see this year as a one of growth and establishing myself in the indie scene.
Please tell us about your future direction as a songwriter?
My aim as a songwriter is to continue to write music and lyrics that are different but real, honest and vulnerable. I want to find ways to say things that people can’t articulate because, from personal experience, I know how finding a song that explains exactly what you’re going through can make it just a little bit easier.
Who are you listening to at the moment?
I love Gracie Abrams – especially her most recent album, ‘This is What It Feels Like’
I actually have a playlist filled with all the songs I listened to throughout the making of the track.
https://open.spotify.com/
What do you like to do away from music?
Away from music, I’m a graphic designer. I also love working out, playing any sport I can get my hands on and listening to podcasts.
Favourite food and place to hangout?
I love hanging out at the local national park; you will literally find me there every day.
Favourite food would have to be ice cream or Vietnamese Pho.
Instagram: https://www.instagram.com/nikki_wishart/
Twitter: https://twitter.com/Nikki_Wishart
Tiktok: https://vm.tiktok.com/ZSegbMMAC/
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LEWIS CANCUT
Magic Circle mixtape
February 25
PRE-ORDER VINYL HERE
Stay connected with Lewis CanCut:
Bandcamp | Facebook | Instagram | YouTube | Twitter | SoundCloud
Photo Credit: Simon Fazio
MARCH 4-14 – TICKETS ARE ON SALE NOW!
Brunswick Music Festival is overjoyed to announce its return in 2022 for its 34th year running. The 10-day event will span March 4 to 14 and once again soak in the fresh air of BMF’s breezy outdoor venue at Gilpin Park.
Featuring curated live music line-ups in Brunswick’s best live music venues, plus pop ups in some unassuming places, Brunswick Music Festival returns live music to Melbourne’s most beloved inner city suburb in a relaxed, safe and sustainable way.
With a dreamy outdoor environment reminiscent of the The ‘Sup, much of this year’s festivities will descend on Gilpin Park. Situated mere moments from the hustle of Sydney Road, the Gilpin Park stage proved an unforgettable highlight of 2021’s sell out program, providing friends, families, and live music fans the opportunity for a low key lounge with their live music.
The venue will host performances by Adalita, Birdz, Body Type, Didirri, Flyying Colours, Gordi, Gregor, HTRK, Irish Mythen, Kaiit, MOD CON, RAT!hammock, Ziggy Ramo and HEAPS more.
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Where are you currently based?
I’m currently living in Cairns, and have been for 7 years now, although I’m originally from the tiny Isle Barra off the West Coast of Scotland.
How did you first start playing music?
I’ve been around music and the arts my entire life and, coming from Scotland, it was a huge part of my soul/culture. I was brought up as a Highland Dancer and played the fiddle and piano at school (but NOT the bagpipes!). I’ve always loved the idea of being a singer, and a couple of years ago started writing my own songs in a little homemade recording booth in my parents garage. The success of my debut single Heebiejeebies inspired me to continue to chase this dream and I’m now following a path to make singing my career.
What’s been happening recently?
I finished school last year (yeay!) and just started my Cert 3 in Music at TAFE. It’s great fun being around like-minded people and getting to be a full time music student. I have lots of new music coming out soon. Still the Same was the first single of my debut EP of 5 new original songs coming out in March. We’re releasing the second single from the EP on 11th February, called Stockholm – and it’s something a little different from my normal. We’ve just finished filming the music video for this one, in the rainforest in the heat of summer!! I also have my first co-headline gig at the Tanks Arts Centre in Cairns on 18th Feb and then will be performing at The Powerhouse in Brisbane April 24th. So I’m very excited for everything that’s happening over the next few months and can’t wait to share my new music with everyone.
Your latest single ‘Still the Same’ is out now, what influenced the sound and songwriting?
I read a book called ‘The Invisible Life of Addie Larue’ and was super inspired by the concept of time passing and growing as a person, but still having the same feelings you had for someone from your past, a love that never really went away. It’s a very heartfelt song and the lyrics reflect on whether your old lover or yourself are still the same person you were. Something I think everyone can relate to, so definitely give it a listen if you haven’t!
How did the concept for the music video come about?
I wanted a super homey-type video. Inspired by those scenes in movies when families watch their old home videos. I wanted it to look as if I’m turning through the pages of my scrapbook and I’m reliving the memories. It’s a cute and simple concept, and includes footage from the live performance from the Single Launch at Bar36!
Where did you film and who did you work with?
My sister and best friend filmed me awkwardly running around the Esplanade for the ‘memories’ haha. My good friend also took the video of me singing live at Bar36, so it was a very personal video made by myself with the help of my friends and family. It’s supposed to be quite raw and not so professional, and I think that’s translated well in the video.
Your upcoming single ‘Stockholm’ will be released soon, how did this track come about and what does it mean to you?
Stockholm was a song I wrote on a random Thursday in my Garage. I had this concept of being in love with the villain and the little idea spiralled into the huge song that it now is. I worked with some of the boys from a progressive rock band Forest, and we turned into a powerful, heavy song that I don’t think people are quite expecting from me. It releases on 11th Feb.
You’ll be releasing your debut EP soon, please tell us about this project:
It’s my first time putting out more than just a single and I am soooo excited!! Songwriting for me is all about storytelling, and the EP tracks are in a very specific order telling a story of falling in love and then it progresses through the falling apart and things quickly going downhill. The lyrics are so important in this project! It’s also my first time delving into different genres of music. Previously, my music has only been pop. But on this EP, I have funk, rock, jazz and a little doo-wop! It’s quite eclectic in the best way possible — there’s something for everyone!
Where and when did you record/produce/master and who with?
I had plans to record with Simon Cohen at Studios 301 in Sydney, but covid happened and I ended up recording in Brisbane at The Plutonium Studio with Aiden Hogg! It was such a fun experience as I’m used to doing everything myself. It was nice to be able to JUST sing and let someone else do all the work.
What do you like to do away from music?
I’m a huge bookworm & love creative writing. I guess that’s why I’m so obsessed with storytelling in my songs and making sure my concepts have depth and connect with listeners.
Who are you listening to at the moment?
I’m always listening to Frank Ocean, Mother Mother, Bo Burnham, Tyler, the Creator, very different music to what I sing.
What’s planned for 2022?
MUSIC!! I want to keep writing, singing, recording, releasing, and performing live — hopefully some festivals, maybe a tour? And keep chasing my dream to make music and performing my full time career.
Favourite food and place to hangout?
I love pistachios, corn on the cob, potato and green Thai curry…Weird mix, I know! And my favourite place to hang out is probably just at home with a book, or on the beach.
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“The Gogans continue full throttle with a blast of utterly cathartic garage rock with all essential ingredients present and accounted for. A sneery delivery, legs apart, hands on hips, lips pursed and arched eyebrows in a leather jacketed embrace. [Be Your Man is] a bit of rock’n’roll fun delivered with the utmost dedication to the craft along with a rousing chorus and a buzz saw blitz.” – Arun Kendall, Backseat Mafia
Adaptive and reactive Melbourne outfit The Grogans return with their first music of the year on their explosive new offering ‘Be Your Man’. The flip side to its sister release on transparent red vinyl, ‘Just A Kid’, which dropped at the tail end of last year, ‘Be Your Man’ continues the trio’s legacy of lucrative, finger-on-the-pulse songwriting that reflects and responds to the ever-changing world around them. In 2022, that world calls for some classic call and response punk rock, evident in multitudes on ‘Be Your Man’.
Out now via Cousin Will Records, the single sees the lads; Quin Grunden (Vocals, Guitar, Bass), Angus Vasic (Guitar, BV) and Jordan Lewis (Drums, BV), at their most urgent and visceral. Grunden’s heady vocals speak of desperately clinging to a lover that’s slipping through his grasp, while Vasic and Lewis’ combined frenetic energy dare the frontman to lose focus. The result is an electrifying malaise of sound, and one that is destined to erupt on the live stage.
STREAM / EMBED ‘BE YOUR MAN’
STREAM / EMBED ‘BE YOUR MAN’ VIA BANDCAMP
“We wanted to write something heavier as we really enjoy that side of our live show. We wanted it to be in your face but still within our nature. It’s a song about wanting to prove yourself to a partner and wanting to step up to the table but it’s still in a simple manner a classic love track all wrapped up in a punkish wrapping. Dig ya teeth in and take what you will from it.” – Gus Vasic, The Grogans
The Grogans are a truly unmissable live act, deploying an extensive variety of stylistic influences with cohesion and conviction on stage. Angus and Quin’s combined surf jangle and punctuated guitar riffage are propelled by drummer Jordan Lewis’ well oiled machine, while Quin’s viscous vocals range from reverb drenched upstart chants to honeyed croons. Having supported the likes of Ocean Alley, Maddy Jane, Northeast Party House, Nai Palm, Drunk Mums, The Chats and Polish Club, The Grogans will soon take their captivating live show on the road again supporting Hockey Dad on their 2022 Regional Tour, with single launch shows penned for Torquay (new show), Sydney (sold out) and Wollongong (selling fast).
HOCKEY DAD TOUR DATES 2022
Supporting Hockey Dad
Friday 4 February – Beer Deluxe, Albury
Saturday 5 February – UC Refectory, Canberra
Friday 11 February – Regent Theatre, Wollongong
Saturday 12 February – Marlin Hotel, Ulladulla
Sunday 13 February – The Cambridge Hotel, Newcastle
Friday 18 February – Hoey Moey, Coffs Harbour
Saturday 19 February – Bowlo Sports and Leisure Yamba, Yamba
Wednesday 23 February – Seabreeze Hotel, Mackay
Thursday 24 February – Magnums Hotel, Airlie Beach
Friday 25 February – Dalrymple Hotel, Townsville
Saturday 26 February – Tanks Arts Centre, Cairns
Thursday 3 March – The Northern, Byron Bay
Friday 4 March – Coolangatta Hotel, Gold Coast
Thursday 10 March – Pier Bandroom, Frankston
Friday 11 March – Barwon Heads Hotel, Barwon Heads
Saturday 12 March – Torquay Hotel, Torquay
THE GROGANS SINGLE LAUNCH SHOWS
Tuesday 8 February – La La La’s, Wollongong
Tickets via Moshtix
Thursday 10 February – Crow Bar, Sydney (SOLD OUT)
Saturday 23 April – Torquay Hotel, Torquay (NEW DATE)
Tickets via Oztix
On Tuesday February 1, Australian music industry icon Glenn Wheatley passed away, aged 74. Wheatley was surrounded by his wife of almost 40 years, Gaynor, son Tim and daughters Kara and Samantha. The musician, manager, radio pioneer and entrepreneur died as a result of complications caused by COVID. Wheatley, who was double vaccinated passed away after valiantly fighting for several weeks.
His heartbroken family passed on their thanks to the COVID frontline workers and staff at Epworth ICU. Wheatley was still busy working on new projects.
“In spite of having achieved so much, there was a lot more he wanted to give,” his family said. “He had an enthusiasm that was unmatched and believed that anything was possible. He gave everything to support projects he believed in, whether they were ultimately successful or not – his immense passion and enthusiasm was an integral part of Glenn Wheatley.”
“He treated roadies, artists and fans with the same love and respect, and had time for everyone. He would leave Rod Laver Arena after a John Farnham concert, just to carry my amp into the Espy,” Tim said, “Everything he did was for his family. He regarded his family as his greatest achievement.”
The Farnhams have released this statement: “Our family are devastated at the loss of our friend. We also obviously feel for his family as well. With his passing so many people have lost a part of their lives. We will miss you Glenn, and promise to be there for Gaynor and the family. Love Jill, John, Robert and James Farnham”
In 1998 Wheatley was inducted into the ARIA Hall of Fame as part of The Masters Apprentices, whose hits Turn Up Your Radio and Because I Love You are Australian rock classics. However Wheatley would find his niche in the music industry through artist management. He helped open doors for Australian music overseas with the global success of Little River Band in the 1970s, selling over 30 million albums and scoring 10 US Top 20 singles including Help Is On Its Way and Reminiscing.
His most successful partnership came with John Farnham, who became a lifelong friend and creative soulmate. Wheatley took over Farnham’s management in 1980, and re-launched his career. A cover of the Beatles’ Help returned him to the chart and Farnham briefly fronted Little River Band. However the two men would stage the biggest comeback in Australian music history with 1986’s Whispering Jack album. Wheatley remortgaged his house to fund the album, which was launched with the unforgettable hit You’re the Voice. Whispering Jack is now the highest-selling Australian album in ARIA history, while Farnham scored 10 No.1 albums with Wheatley as manager. Wheatley also transformed Farnham into one of the most successful touring artists in Australian history, selling millions of tickets in arenas and later outdoor festivals.
Wheatley also launched the career of Delta Goodrem, helping her debut album Innocent Eyes to sell over one million copies in Australia. His other management credits include Pseudo Echo, Real Life and Australian Crawl. Wheatley also launched Australia’s first commercial FM station, EON FM, in 1980, which would rebrand as Triple M. He continued to invest in radio stations, with wife Gaynor on the board of the stations he owned.
In 1992 he helped stage the Australian musical version of Jesus Christ Superstar, featuring Farnham, Kate Ceberano and Jon Stevens. It played over 80 arena dates across the country, while the soundtrack album – released on Wheatley Records, went 12 times platinum.
Wheatley also created charities to fundraise through televised concerts, including the Hay Mate charity to raise money for farmers, the benefit for Rwanda, the concert for the troops in Dili, and countless contributions to other charities in which he was immensely proud.
He released his autobiography, Paper Paradise, in 1999, and over the last few years had been very busy with a number of projects in the works for John.
On the weekend, Wheatley’s son Tim shelved his new single and EP release that was set to be announced on Friday. The long-planned EP was to include a stunning, heartfelt cover of The Masters Apprentices classic Because I Love You. “We were planning the release of Because I Love You for months,” Tim said,“We just fell three days short”. In honour of his Father, Tim is sharing his version of the song today.
The Wheatley family and John Farnham are deeply grateful for the support and loving messages they have received, and will not be making any further comments at this time. They thank the media and public for respecting their privacy.
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THE CITY – NEON DREAMS – MARCH 11, 2022
TRACKLISTING
01 Faded
02 Caffeine Fiend
03 Aeons
04 Vanity & Violence
05 The Chad
06 Neon Dreams
07 My Love (Wildfire)
08 The Devil In Me
09 WYDTM
10 Set Me On Fire
11 Bright Lights
12 Walk Away (Forget My Name)
13 Heavy Heart
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Hailing from Vancouver’s North Shore, Rose Ranger’s creative process is inextricably linked with the ocean and mountains that are stone’s throw away from her front door. She has written and recorded with some of Canada’s top musicians, toured the world, opened for Keith Urban, has had music featured on key television programs like Dawson’s Creek and films such as The Bandit Hound. Combined with her love of all musical genres and her utmost appreciation for all the creative arts – the blend creates a dynamic vibrancy in her songwriting process. This song is a testament to all of those influences…get ready for a powerful pop ride.
https://www.facebook.com/roseranger
We sat down with Voya the Guitarist/Producer from Sydney band, Bad Moon Born…
Where are you currently based?
Voya: Currently based in Sydney. Predominantly around where the Fat Pizza movie was filmed.
How did you first start playing music?
Voya: One of the most inspiring moments for me was getting to high school, and being taken around on a tour of the facilities.
Once we got to the music room, we saw a senior band covering Toxicity by System Of A Down, which lead to me dropping any other interests I had in life to do the same.
They were cool AF.
Please tell us how Bad Moon Born started:
Voya: Bad Moon Born started after a couple of our previous bands fizzled out through our musical journey, and we wanted to start afresh.
It was also our way of rebranding after doing some pretty cringe-worthy things as a younger band.
Your latest single ‘Light Leaves The Day’ is a step away from your hard rock sound, what influenced the sound and songwriting for this track?
Voya: Just felt like doing something different. We’re into a vast array of music and genres, which is something we wanted to lean into further.
We also wanted to use this track as a way of easing people into what’s to come.
How did you go about writing ‘Light Leaves The Day’?
Voya: I had the chord progression you can hear on the acoustic for a while, and Jordan was really keen on a ballad because he’s a sensitive guy.
My main objective was that I wanted it to be a ballad without sounding like a traditional ballad, if that makes sense. I feel like the style of bass and drumming really help to keep it from falling into that stock ballad territory.
I’m glad we achieved this, otherwise I probably wouldn’t have enjoyed the song as much. As for the lyrics – that’s all Jordan. The whole singles collection we released is quite personal for him, lyrically.
I feel like this was the perfect touch to end this journey and hopefully, it arouses some curiosity around what we’ll be doing next.
Where and when did you record/produce/master and who with?
Voya: I recorded, produced, and mixed the track at my studio almost a year ago now, I think. The drums (and chair we used to sample the rimshot) were recorded with Chris Blancato (Northlane).
He also mastered this track, as well as the last 3 singles.
How did you approach the recording process?
Voya: Jordan and I demoed the whole song midway through 2020, and sat on it for a while, thinking about what we could add to it. Anything we tried adding caused the track to lose its stark, intimate feel.
When we started to track the song properly, we only ended up re-recording the vocals, guitars, and drums, due to deciding we’d prefer to keep the original synth, bass, and string parts.
So it was a fairly spaced out, and naturally occurring process.
What do you have planned to support the single?
Voya: We’ve just released a video clip for it, and will be doing a live performance of it soon as part of a virtual concert-type thing. We’ve also got the great team over at Beehive handling the PR for the release.
Who are you listening to at the moment?
Voya: Nickelback and Skrillex, exclusively. I’m not even joking.
What do you like to do away from music?
Voya: Every time I’ve been asked this I don’t know what to say, because the deeper I think about it, the more I realize I don’t actually do much else apart from music.
This leads me to wonder what I’d do if I couldn’t do music anymore, which in turn leads me to the deep dark sadness of feeling a sense of shallowness in my life.
That said, one could argue that it’s just an obsessive commitment.
What’s planned for 2022?
Voya: Writing our debut album. Anything else isn’t worth planning at the moment, unless you’re someone who loves covid related postponements and cancellations.
Favourite food and place to hangout?
Voya: Ćevapi. If you don’t know what they are, I highly suggest trying them ASAP.
My favourite place to hang out is at home. I don’t enjoy going out too much because it’s usually full of loud and obnoxious people who want you to share their enthusiasm for ‘being out.’
I’ll stick to my studio, thanks.