“lands somewhere between the sonic extremes of her previous work, marrying heavy distortion with sticky pop hooks.” – NEW YORK TIMES
“nine tight, hook-focused songs that favour front-to-back consistency over constant mayhem — drawing on uptempo grunge (‘Lessen the Damage’), pop-punk (‘Mean’), new wave (‘Hysteria’) and shoegaze-y dream-pop (‘As Strange As It Seems’) in satisfying bursts.” – SPIN
“Poppy has well and truly earned her spot amongst the greats of the alternative scene” – Wall Of Sound
Poppy has just released her new album Flux via Sumerian Records. The album is another ambitious leap for the ever-evolving musician, putting a renewed focus on a stream-lined songwriting approach that puts her indelible vocal melodies at the foreground of a kaleidoscopic mosaic of overdriven guitars.
To help bring her vision to life Poppy brought in acclaimed producer Justin Meldal-Johnsen (M83, Deafheaven, Jimmy Eat World) who had the band record live to tape, accentuating the warmth of the arrangements and lending a decidedly personal touch to the new set of material. The album was preceded by self-directed videos for “So Mean,” “Flux” (which featured a pastel dream world constructed by Australian visual/sculpture artist Pip & Pop), and a video by accomplished stop motion animator/director Chris Ullens (Rex Orange County, Lee Ann Womack) for “Her.” With each visual she has deepened the world of the album, revealing a world brimming with blisteringly sunny vocal melodies and saturated sonics.
2021 has proven to be a landmark year for Poppy, kicking off with a stunning GRAMMY performance in March (celebrating her nomination for Best Metal Performance, the first solo female artist ever nominated in the category), her global livestream event The Last Disagreement in April, the May release of her cover of Jack Off Jill’s “Fear of Dying,” and multiple appearances on WWE NXT, the most recent of which culminated with her announcing the surprise drop of a five song EP, EAT – NXT SOUNDTRACK.
On top of it all she was just announced as the cover artist for the latest issue of Kerrang & launched a collaboration with acclaimed Harajuku Japanese accessories company Q-pot, in addition to her recently announced collaborative line of shoes with Koi Footwear and her ongoing role as the face of Viktor and Rolf’s blockbuster fragrance Flowerbomb with L’Oreal.
Stream / Purchase Flux
impoppy.com
Watch the video for “Flux”
https://youtu.be/C68Okt3Qg8M
Watch the video for “Her”
https://youtu.be/x_KB4KFPxss
Watch the video for “So Mean”
https://youtu.be/CT40JmmtnY4
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TRACKLIST
Montana
Separate Ways
Audrey
Sapphire
Truman
The Reds
Melt Clocks
Stay connected with Nox Holloway:
Official Website | Instagram
Sabo and his label Sol Selectas welcome Ayala (IT) for an EP with three original tracks along with solo remixes by Sifa, Chambord and Animal Trainer.
Ayala (IT) previously featured on the Sol Selectas Summer Sol compilation with his track “Levante” that showcased his afro house style that blends upbeat tribal percussion with melodic synths and traditional instruments from around the world.
Each of the three originals take influence from aboriginal culture and fuses it with modern electronic sounds to create a sonic tapestry that tells ancient stories with a contemporary twist. Based in Italy, Ayala (IT) has also featured tracks on other imprints such as MoBlack Records, Sirin Music and Sony Music.
Joining the originals are three stunning remixes, the first of which comes from Belgium’s Sifa whose previously featured tracks on labels ranging from Kompakt to Global Underground. French duo Chambord have also featured on Summer Sol compilations, and make their return with a mystic remix in the style they have featured on the likes of Akbal Music and Kindisch. Last of the remixes comes from Swiss duo Animal Trainer who make their debut on Sol Selectas following many high-profile outings on the likes of Katermukke, Stil Vor Talent and Einmusika Recordings.
“Sacred Steels” opens the release with gamelan melodies and ethereal vocals that fuse with the building tension of a swelling synth. Augmented with dramatic vocal textures, it’s a tropical sapphire filled with adventure that teleports the dance floor too far away exotic locations.
Second of the originals, “Sacred Piano” has heavy percussion and distant trumpets that surround bass heavy piano chords. Loose and free-flowing, this ever-evolving slice of tribal house is tailor made for club sound systems, while also telling the story of jungle life.
“Panther” is last of the originals with a low-slung groove full of psychedelic textures and a mystic atmosphere that create a ceremonial vibe. Rich with percussive textures and enchanting melodies, the track feels like a lucid dream come to life.
Sifa’s remix of Sacred Steels lifts the tempo, and chunks up the track to raise the intensity while also adding a hypnotic acid bassline.
Chambord refines Sacred Piano with a version that strips back some of the original’s elements and brings the trumpets into focus to create a Balearic vibe perfect for bringing in the sunset.
Animal Trainer closes out the release with a melodic remix of Panther, which steadily builds momentum and draws focus to the melody until the drums take control in the latter stages of the rework.
The artwork by Helia Jamali is a sacred hypnotic sunset that awakens your deepest senses.
Where are you currently based?
How did you first start playing music?
What’s been happening recently?
Your new single ‘Ripe’ is out now, what influenced the sound and songwriting?
How did you go about writing Ripe?
Where and when did you record/produce/master and who with?
How did you approach the recording process?
What do you like to do away from music?
Who are you listening to at the moment?
What’s planned for the remainder of 2021 going into 2022?
Favourite food and place to hangout?
Australia’s very own Tbish links up with 410’s Jay Slapit for their latest drill banger ” Temple “.
The two artists featured in a powerfully delivered crossover seen as Businessman and Tweeko’s second production between the two nations.
Jay Slapit wastes no time reminding people of his reputation and lyrical presence he asserts as part of the Brixton crew. While Tbish continues to integrate his Birmingham background and Oz articulation to creep swiftly between recognizable flows.
The release is an example of the timeless pieces we can see from international collaborations.
Tawanda returns with his second single (‘TRYING’ prod. by Tawanda X RUCKER COLLECTIVE). Coming off the back of feature track ( ‘All on the line’ by Zyad ft Fin, Tawanda) set to release on Friday 17 September. Tawanda aims to solidify his mark as an artist and producer. The Zimbabwean – Australian artist is set to release the track Friday 24 September.
With a handful of production credits ranging from Szn’s, Yawdoesitall, Bale, Makalita, Michelle and Ruu, Tawanda spent the early days of his music career as a prolific songwriter and producer. His penchant for pretty and flowery chords with a build of hard drums is evident in his previous works with these artist. Tawanda aims to raise awareness to the importance of mental health with his second single. He shares multiple mental health services with the cover art, sharing multiple numbers and website. Tawanda looks forward to making his imprint across the Sydney rising scene and also branch out for future international opportunities. This is also a performance track which makes a future show something to look forward to.
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What’s been happening since we last spoke?
Since my debut single ‘See You Again’, I released my debut EP Time, in 2019, in collaboration with Melbourne producers Jerome Farah (Baker Boy, KIAN) and Aman Bayatly (Adrian Eagle) which received strong reviews, support from triple j unearthed and new audiences, and I was nominated for “Best Regional/Outer Suburban Act” Music Victoria Awards 2019. I continued to build my experience as a performer with regular gigs in Melbourne and regional Victoria, then during 2020 lockdowns I spent a lot of time writing new songs and did live-stream events. This year I’ve been busy in the studio with producer Julian Steel (JAYDEAN, HANNAH) releasing ‘Mind the Gap’ as the first taste of my upcoming second EP.
Your new single ‘Mind Gap’ is out now, how does this track relate to women’s current global movements?
The opening of the song is set with the voices of female protestors chanting “my body, my choice” and I sing about the issue of getting unwanted attention from men, connecting with the ‘Me too’ movement. There is an overrepresentation of men in the music industry which means “He’s making decisions for me; he’s leaving me out”. “He don’t have to dress up before leaving the door” touches on the different expectations put on male and female artists. A man can be on stage in a t-shirt and jeans without judgement. But women in the music industry have been marketed through sexualisation for so long that when an artist doesn’t adhere to this, it’s hard to sell them.
I also address the gender pay-gap in the track “He be out here making more than me; Even though I work just as hard” – statistically women will earn 20% less than her male peers in Australia. At the end of the song, I declare the motto, “Enough is enough”.
Please tell us about this new social/political aspect to your music:
‘I won’t be quiet about it’ and ‘we’re still not equal yet’ focus on female empowerment, females having more of a voice and developing confidence, what has influenced this new direction in your music?
Women in music, the ‘Me Too’ movement, and Brittany Higgens speaking out publicly with the help of more women in the media now, supporting her, influenced me. I really believe that encouraging young girls to have confidence to pursue the path of their choice, and to speak up about injustices, builds resilience and determination. Even when there are knockbacks, if women have the self-belief and strength of character to persevere they will be unstoppable in whatever they choose to do.
What was the process behind developing the production ideas/concepts for ‘Mind the Gap’?
I wrote ‘Mind the Gap’ a couple of years ago and was looking for a female producer to work with on the track but it was hard to find one as male producers outnumber female producers 47 to one. I needed someone who would best suit the style and understand the genre. Earlier this year I began to work with Melbourne producer Julian Steel. We combined my signature 90s R&B inspired tone and Sade influenced pop/jazz: the smooth tones of the saxophone, with Julian’s live instrumentation of laid-back guitar, reggae nuisances in the organs and rhythm, and groovy bass.
You have been writing and recording during lockdown, how did you go about writing the music?
I write all my music from home at my keyboard. The concept behind ‘Mind the Gap’ started by wanting to write about a global social/political topic. I usually write from personal experiences, as a healing process, but I wanted to say something that had a bigger meaning to a bigger audience. The song grew from a place of feeling fed up with how women are treated by some men, but also how the topic relates to me personally. And I think more anthem songs are needed. I was inspired by 60s and 70s revolution songs, about civil rights and women’s liberation. Songs like Helen Reddy’s ‘I am Woman’ and Aretha Franklin’s ‘Respect’ were influences for ‘Mind the Gap’.
Where and when did you record/produce/master and who with?
I recorded ‘Mind the Gap’ in Melbourne, in 2021, with producer Julian Steel and Panorama Mixing & Mastering mastered the track.
How did you approach the recording process?
As I’m in regional Victoria, I had to go to Melbourne for four recording sessions with Julian over a six-month period because of lockdowns. Firstly, Julian laid down the live drums, organs, bass and guitar. I came in for two sessions, one for the main vocals and another for the backing vocals. I got Bella Winter to feature on saxophone in a separate recording. We had one last session to add the final touches such as the protestors chanting.
What’s it been like living and being a musician in regional Victoria (Castlemaine) and commuting to Melbourne for recording and performing?
I grew up in Castlemaine, a great arts community, and I love the space and quiet here. However, as a musician, the amount of venues are limited and there are less opportunities to progress my career. I’ve been lucky to not have been in as many lockdowns as Melbourne but it’s hard to build momentum as a performer as most of the gigs and work I need to do as a musician relies on going to Melbourne. It can be tiring going back and forth but I enjoy the scenery on the drive and listening to music in the car. I’m very grateful to have the cultural centre so close to me. It’s very rewarding going to the city to develop my career.
What’s planned for the remainder of 2021 going into 2022?
When things open up and I can get down to Melbourne next I will finish the recording and production of the remaining songs on my upcoming EP. I’ll be releasing another single and the EP hopefully late this year or early 2022. Can’t wait for you to hear it!
How was it recording your second EP of introspective songs written in the 2020 lockdowns?
During 2020 I had to find non-public ways to express myself creatively. There was a lot to process about the pandemic and it was hard not being able to see my partner because of lockdowns, and losing a loved one. I got through this time by putting these stories into songs. I turned my wardrobe into a vocal booth and recorded and self-produced a song about struggling through these unprecedented times. I released ‘Home’ last year and filmed moments spent at home to accompany the song. Recording the other songs I’d written during 2020 with Julian in Melbourne and actually being back in a studio was pretty special.
Who are you listening to at the moment?
I’m listening to Sinead Harnett, Snoh Aalegra, Little Simz and Victoria Monét.
Stream/download ‘Mind the Gap’ here: https://gyro.to/MindtheGap
Website: https://mayaofficial.com/
Facebook: https://www.facebook.com/officialmayarose/
Instagram: https://www.instagram.com/maya.rose.music/
Twitter: https://twitter.com/maya_rose_music
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NOVEMBER is the queer, genre-bending project you never knew you needed in your life. Also an actor of the stage and screen, theatricality is central to NOVEMBER’s artistic vision, and with influences like FKA twigs, ANOHNI and Depeche Mode, their sound is difficult to nail down or pigeonhole.
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The accompanying video finally gives an insight into Sassy 009‘s other passion: hitting the slopes with her badass all-female skate/snowboard crew Sensesse. The footage follows Sunni and her pals performing their favourite winter hobby and majestically gliding through the mountain tops of Norway. WATCH ABOVE and stay tuned for Heart Ego.
‘Mystery Boy‘ is out now via Luft Recordings,
buy/stream it here.
SASSY 009
Heart Ego
Mixtape Out Oct 22
TRACKLIST
Forever Seventeen
Blue Racecar
Mystery Boy
Here Comes The Weekend
Red Plum
Wannabe
It’s Complicated
Ego Heart Ego
Stay connected with SASSY 009:
Website | Twitter | Instagram | Facebook
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Throughout the last year and a half, The VANNS have proven their resilience and strength as a band. Utilising the momentum the release of their breakthrough debut album Through The Walls spurred, The VANNS formed for themselves a strong reputation as live performers around the country.
Reaping industry acclaim including the lucrative triple j Feature Album and Like A Version series, the band easily converted the praise and stock being invested in them by tastemakers and respected outlets into a beloved show that has gone on to sell well over 6000 tickets across the nation and accrue over 10 million streams to date on all platforms.
And while touring may be on pause for now, The VANNS’ newest release serves as a reminder that when audiences and band can gather together again, there’s a lot of fun to catch up on.
PRAISE FOR THE VANNS
Triple J, Claire Mooney (‘Red Light’, 2021)“This makes for one hella groovy follow up to your bloody fantastic debut album. I love the playful percussion and those gritty guitars cutting through toward the end. I love everything about you guys!”
Triple J, Bridget Hustwaite (‘Red Light’, 2021)
“Smack bang in the centre of a venn diagram between ‘grandiose rock anthems that not even stadiums could hold’, ‘fervently passionate authenticity’ and ‘infectious larrikin spirit that makes them impossible to hate’, THE VANNS deserved every second of their monolithic breakthrough at the turn of the decade.”
Australian Guitar Magazine
“…a strong, slick and inviting sound that just begs to be heard live.”
The AU Review
Pilerats
‘Feels Good Now’ is out now.
Website | Facebook | Twitter | Instagram | YouTube | Triple J Unearthed
Overflowing with love and a belly full of fruit, Brunswick local ray of sunshine Fiz drops cozy new track Ripe. Full of warm tones and fruity riffs, the release plants her as one of the country’s most intriguing new artists.
Following her debut single ‘Orange’, Ripe speaks on the rare moments of clarity where we remember everything will be okay, and reminds it’s listeners to reflect on the people (and animals) who we hold closest to our hearts.
Produced by Alex Moses, this indie-folk daydream is as charming and citrusy as ever. It will no doubt be the soundtrack helping you slow down and sit back while melodic whistles guide you through a stream of poetic lyrics.
Fiz and her wonderful new band are warming up for a launch show to pair with the new track to be announced in the coming weeks.
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What made ‘Not For Sale’ the natural fit for Thunder Fox to come out the gate with, as an insight to the new album?
We felt that “Not For Sale” was a great introduction to the record as we were able to inject some of the new sounds we’ve been leaning into whilst maintaining Thunder Fox’s signature groove. Consider “Not For Sale” a tantalised little toe dipped in the chocolate river that is “Sanctuary” and, if it’s warm enough, everybody will wanna dive in.
What were your inspirations for the music we’re about to hear on the full album?
I think one of Thunder Fox’s biggest drawcards is the eclecticism we try to maintain throughout all of our projects. It can be a blessing and a curse that the five of us come from such a myriad of musical backgrounds and influences so, with Sanctuary, we wanted to try our best to create a cohesive record whilst holding on to our eclectic magic. Instead of drawing so much from musical influences, we aimed to paint a picture conceptually, touching on topics that were prevalent in our lives at the time and trying to hold on to it for the most part of the album.
Describe how this record captures the vibe of the band moving forward into 2022?
This record is a display of our metamorphosis after a number of line-up changes and a ton of development over the last couple of years. With our sound maturing, we’re also becoming more confident on the production side of things and enjoying being more creative in the box rather than just trying to excel at our instruments. Don’t get me wrong, it’s still a wild ride but, when I listen to Sanctuary, it sounds like Thunder Fox is all grown up. I think it can only be yet another milestone towards our eventual world domination.
What have you been enjoying the most about creating music with Thunder Fox?
When I think of the benefits of music creation in the band, I could go on for hours about how cathartic and life-altering it all can be. With that said, a couple of things really stand out. Firstly, there’s a magnetic kind of fulfilment that I always chase when I try to sing better, play better or write better lyrics. I can never quite reach the end goal but soldiering on towards it every day is my dream come true. I always want to outdo whatever I did last time. With that said, when it all comes down to it, even if the music sucked it would all be worth it for the camaraderie and friendship I’ve found with my bandmates and Dan, our engineer/producer wizard. I love the guys with all of my heart and had the time of my life writing and recording in our little Nambucca Air BnB over a couple of weeks. It was pure bliss.
It’s been a bizarre time for musicians to stay creative – how has Thunder Fox managed to keep it together over the last year and a half?
There’s no doubt the past couple of years have been incredibly taxing and, it would be easy to say all of the drama just gives us more fuel to write and record awesome songs about how fucked life is but, it ain’t always that easy. I think being in such a state of limbo, isolated and bored can often lead me, personally, to a place of genuine languishing. In that state I can lose motivation so quickly and I feel I can’t write beautiful things when I’m in such a potato state. It comes and goes in waves though and, if anything, I’m just so proud to have achieved or created anything at all during all this craziness, let alone the best album of all time.
Official Website | Facebook | Twitter | Instagram | YouTube | Triple J Unearthed