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2manydjs, KAS:ST, Solardo and more added to Bumper Decibel Open Air Lineup!

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written by the partae
Paul Kalkbrenner, Caribou, Reinier Zonneveld all set to perform live alongside Nina Kraviz, Kölsch, Amelie Lens and more
September 2022
Saturday 10th / Sunday 11th
PARCO DELLE CASCINE
FLORENCE, ITALY
Decibel Open Air announces the full program of its 4th edition, spanning 10th and 11th September 2022 (noon-midnight) at Parco delle Cascine in Florence, Italy.
1979, 2manydjs, KAS:ST, Klaus, Kommando, Malandria Jr, Mattia Trani (live) and Solardo are added to complete an already impressive lineup that offers something for everyone of an underground persuasion.
Decibel Open Air is one the most highly anticipated summer festivals in the European calendar. The highlights? A new location, three stages (one brand new), more than 40 international artists (live and DJ sets), plus the immersive universe of elrow and Terminal V. Decibel Open Air line up will see superstars Paul Kalkbrenner, Caribou, Cosmo, Reinier Zonneveld and Vitalic (live), and Amelie Lens, Fisher, Marco Carola, Michael Bibi, Nina Kraviz, Peggy Gou and Richie Hawtin (DJ sets).
With the announcement of the full lineup and daily splits, fans can begin to get excited about the latest edition of Decibel Open Air.

Decibel Open Air daily full line up

Saturday 10th: Amelie Lens, Fisher, Marco Carola, Richie Hawtin, Giorgia Angiuli, Fideles, Stephan Jolk, Malandra Jr. (DOA stage); Kölsch, Wade, Marc Maya, Toni Varga, Viviana Casanova, Dimmish, Kommando (elrow stage); 2manydjs, Caribou (live), Overmono (live), Jessy Lanza, Elkka, Giulia Tess (Amphitheatre stage)

Sunday 11th: Peggy Gou, Paul Kalkbrenner (live), Nina Kraviz, Michael Bibi, Solardo, KAS:ST, Pôngo (live), 1979 (DOA stage); 999999999 (live), Adiel, I Hate Models, Pan-Pot, Reinier Zonneveld (live), T78, Mattia Trani (live), Sara Mozzillo (Terminal V stage); Cosmo (live), MACE (dj set), Vitalic (live), Tamburi Neri (live), Klaus (Amphitheatre stage)

Tickets and info:
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MELBOURNE DREAM-POP DUO FLOOZY ARE BACK WITH VIBRANT NEW TRACK ‘CRAVING’

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written by the partae

Photo by Juana Martignone

After impressing on arrival with their track ‘Sand Dunes’, Melbourne’s Floozy returns with another shimmering delight, with new track ‘Craving’. 

The single is seductive as it is easily danceable, highlighting the strong writing and artistic partnership between musicians Leigh Dallimore and Andréa Hajenian. Where ‘Sand Dunes’ introduced the pair as a group with intrigue and much potential to get stuck into, ‘Craving’ gives music fans further insight into who Floozy is – their core musical identity out on full display.

Fun, confident and beautifully expressive.

“Have you got a love you’re craving?”

It’s a simple question that threads its way through the song, and one that hangs in the air as Hajenian and Dallimore’s vocals weave together with ease. On ‘Craving’, Floozy worked with Xavier Dunn (Charlie Collins, Jack River) on co-production, recording out of their Fitzroy North studio. In terms of sound and creative direction, Floozy knew exactly what they were going for.

“In coming together as a duo, we always said we’d go for fun and spritzy. This doesn’t always happen in the writing process, but ‘Craving’ definitely landed true. The track started with a sunny arvo studio session together, where Dre brought in this sick beat and bassline to work off. We started bouncing around the studio having a laugh and Leigh almost instantly started singing the chorus hook.

We tried to listen to what the production was making us feel and started fleshing out the story. There was something distinctly cheeky and flirty in the way the bass moved with the beats but also something mysterious in the pulse of the pads and textures. Almost like a question being asked.

This really guided the theme of the song: Everyone’s had the experience of being out somewhere and locking eyes with someone magnetic and mysterious, only to have them disappear into the crowd like smoke; Someone who everyone knows of, but no one really knows. Who are they? Where do they go? Who are they with? Did they notice me in the same way?”

LEIGH & ANDREA, FLOOZY

And with the release of ‘Craving’, Floozy have also unveiled the song’s music video, a collaboration with the rollerskating performer Dylan Blue that really brought the energy of the track to life. Directed by Floozy themselves, the group took to the streets of Fitzroy North, Brunswick and Carlton, capturing Dylan as a rather ethereal creature maneuvering the nightscapes of Melbourne’s inner north.

“The music video was an absolute dream. Late last year, we were driving down St Georges Rd in Fitzroy North and saw this vision of a person gliding down the concrete sidewalk, dancing in their rollerskates. We were so taken by them, that we stopped the car and hailed Dylan down in the middle of the street. We both knew when we saw them, enigmatic in their signature blue get-up, catching the eyes of every stranger in sight, that they were ‘Craving’ incarnate. Dylan was thrilled at our ideas and shortly after exchanging contacts, we were texting excitedly about the shoot. 

While writing we really tried to embody the scenes we had imagined: indistinct voices echoing down neon lit city streets; Smokey bars and clubs filled with colourful creatures of the night. Taking notes of all the textures, sounds, and emotions present.”

LEIGH AND ANDREA, FLOOZY

WATCH HERE

PRAISE FOR FLOOZY

“They’ve got a strong sound to match some good style. Floozy’s a name worth remembering”

Triple J Unearthed, Dave Ruby Howe (‘Sand Dunes’, 2021)

“You’ve done such a stellar job of bottling up the feeling of an idyllic, carefree afternoon into a song. It’s intoxicating!”

Triple J Unearthed, Abby Butler (‘Sand Dunes’, 2021)

“3 minutes and 20 seconds of Sun-soaked Nostalgia. Big fan of this one.”

Triple J Unearthed, Jerry Ijale Agbinya (‘Sand Dunes’, 2021)

“Sand Dunes is driven by lofty production, dreamy vocals wrapped in a clever pop arrangement, reflecting the duo’s clear songwriting ability and charm.”

The Music

‘Craving’ is released Thursday, 2nd June.

Facebook | Instagram | YouTube | Triple J Unearthed

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NICK & JUNE RELEASE DREAMY VIDEO FOR LATEST SINGLE ‘ANYTHING BUT TIME’ FROM FORTHCOMING EP BEACH BABY, BABY

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written by the partae

Photo by Lukas Popp

 

A gentle beat, a psychedelically blazing organ, subdued guitar arpeggios, to which an echoing female voice whispers. The first sounds of “Beach Baby, Baby”, the new EP by Nick & June, cause several associative bells to ring at once: Dream Pop! LoFi! Sixties! And those who have known the duo from Nuremberg for a while may be momentarily puzzled: Where’s the indie-folk? Well, after a creative break (and more than two pandemic years) it’s okay to start a new chapter, right?

With the first single ‘Anything But Time’, Nick & June float in a glittering fog of trilling synthesizers, gentle beat and drum pulses and vibrating organ sounds. Embedded in dark reverb guitars, the bitter-sweet paired voices of Suzie-Lou Kraft and Nick Wolf lead the way through euphorically orchestrated restraint and meditative ramifications of thought. Where parallels were once drawn to artists like Bon Iver, Damien Rice, and Angus & Julia Stone, now also Beach House, Mazzy Star, and Lana Del Rey, peer through the reverb-veil. 

“The song was written really fast, very stream-of-consciousness, really really fast. It’s a brief song, with simple sounds, in fact just an old Casio keyboard and a drum machine, with lots of ideas in it. We don’t do too much talking about the lyrics so people can interpret them in their own way. Besides, sometimes even we don’t know one hundred percent what they mean.“ NICK & JUNE

The band shot the accompanying video in an old hotel in Berlin, a late 19th-century tenement house that was once home to silent movie star Asta Nielsen. 

“We have watched many classics of film history and all time favorites in Pandemic – maybe that’s why the overall concept of the EP has a cinematic touch. With these impressions absorbed, we quickly had a firm idea of what the video should look like. The Hotel Funk in Berlin, as an already stunning location, was adapted even more to our wishes by Lillie Ceben, who was responsible for the set design, and Jeanette Friedrich then captured them and shortened them to two minutes thirty – which was really hard with such beautiful material. I believe that with Maja Bons as the actress, we have found the one person who can make this video fun from head to toe.“  NICK AND JUNE

WATCH HERE

Change is a constant in Nick & June’s career. What began in 2011 as Nick Wolf’s solo project, evolved into a variable work of art and indie project during recent years. While both the first EP and full-length debut “Flavor & Sin” (2013) were still deeply rooted in acoustic singer-songwriterism, Nick & June pushed the doors wide open with their concept-release ”My November My” (2017): It was still folk(pop), but more cinematic and layered, with choirs, brass and no inhibitions about freestyling at times – and with singles like “Home Is Where the Heart Hurts, Pt. 1” and “London City, Boy, It’s Killing Me” that morphed into minor indie hits: over 10 million streams, air time on the radio, prime-time TV and even the big screen, in the acclaimed coming-of-age film “About a Girl.”

PRAISE FOR NICK & JUNE

“Delicate, dreamy, poetic…”

OK! Magazine

“The parallels range from Conor Oberst to The National to Azure Ray…simply beautiful.”

Waste of Mind

“The almost perfect mix of pop, indie, melancholy, excitement, high altitude and a deep fall…this filigree work of art just makes you happy.”

Alternativemusik

 

‘Anything But Time’ is out now!

Official Website | Facebook | Instagram | YouTube 

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Surrender Yourself To SOMNIUM’s New Single ‘Truth Set Me Free’ & Entrancing Music Video Accompaniment Out June 10

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Stream ‘Truth Set Me Free’ | Watch Music Video

Appearing in a sonic mirage of ambient psych-rock that effortlessly fuses gnarly guitar blitzes with absorbing synth atmospheres, Adelaide-based indie rock outfit SOMNIUM are unveiling their newest single ‘Truth Set Me Free’ alongside a hypnotic visual accompaniment, both out on June 10.

Known for their punch-packing brand of prog-rock fuelled by unbound melodies and deep, ensnaring grooves, SOMNIUM have solidified their status as class performers, sharing the stage with King Gizzard & The Lizard Wizard, Pond and Mild High Club, Psychedelic Porn Crumpets, The Belligerents, Ecca Vandal, The Babe Rainbow, Buried Feather and more.

Now, returning with their first release since crispy 2017 album ‘Omnism’, SOMNIUM are delivering a sensory whirlpool of hypnotic rock wonder in ‘Truth Set Me Free’ as it arrives in a slithering shroud of unsettling synth.

Gripping electric guitar grooves join drifting vocal melodies that move farther from the earth’s surface with each new line. In a blitz of funk-filled bass lines and envious hooks, the second verse grooves and shakes in the lead up to an entrancing guitar solo, before culminating in a sprawling mass of transcending psych-rock magic.

‘Truth Set Me Free’ arrives alongside a hallucinatory music video that encapsulates the song’s quest for liberation, featuring James and Anthony in a vision of vibrant colours and wacky visual effects, jamming together in the outcrops of nature.

Written about the search for freedom that can ultimately lead to overindulgence in escapism, SOMNIUM describe the single as:

“An emotive song that relates to personal trials and tribulations that ultimately lead to liberation. However, this newfound liberation leads to a sense of loneliness and an overindulgence in the escape realm.”

Surrender yourself to the transcending soundscapes of SOMNIUM with their new single ‘Truth Set Me Free’ and accompanying music video out everywhere on June 10.
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Festival NewsMusic News

SPLENDOUR IN THE GRASS Friday 22 to Sunday 24 July 2022 EXPLORE – Beyond the Main Stages!

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With just one month to go until we gather at North Byron Parklands for one almighty splendid reunion, we’re back with more Splendour in the Grass for you to explore!

There’s an alternate universe of Splendour in the Grass beyond the main stages, where world music and wellness reigns, where mesmerised mates dance amongst Tipis and where punters, pollies and panellists collide to debate, deliberate, speculate and contemplate. Prepare to be astounded by interactive and immersive visual arts, stunned by science and tickled by Australia’s funniest comedians.

Splendour in the Grass presents the 2022 edition of Global Village, Tipi Forest, Splendour Forum, Science Tent, Splendour Arts, Splendour Comedy and Little Splendour. Go forth and explore!

WELCOME TO COUNTRY
Splendour in the Grass takes place on Minjungbal Country. The Welcome to Country is an ancient protocol, that can only be shared by the Traditional Owners of the land, to ensure the safety of all visitors. The 2022 Welcome to Country will feature Minyungbal dance group Mirrigingi Ngari showcasing the Minyungbal way of life through storytelling, dance, language and culture alongside internationally acclaimed former Bangarra member, Waangeenga Blanco who will choreograph and perform a unique piece of work to honour his own experience of connecting to Country.

Music will be composed by Greg Sinclair featuring a prayer spoken by Ella Bancroft in Bundjalung language with traditional instrumentation including Yidaki, clap sticks, WARUP (long drum from the torres strait ) and the GOR (a seed shaker also from the Torres Strait  Islands).

We urge all Splendour’s patrons to pause and focus on the Welcome to Country, take a moment to connect to the land and to pay respect to Elders past, present and emerging.

GLOBAL VILLAGE
Splendour’s cultural melting pot returns bigger and better in 2022! More transcendental than ever, Global Village is an inspiring oasis, home to The Bohemian Lounge, The World Stage, Healing Sanctuary, and the Village Green. This year Global Village is excited to introduce two brand-new destinations – the Minjungbul Yarn Space and Wellness Workshop Pod – presenting a great mix of culture, sound healing, workshops and performance.

Connect to Country with Traditional custodians, learn healthy habits and tap into your inner clairvoyant. Embrace your inner burlesque, dial up your confidence and enjoy performances as varied as cabaret, circus arts, music, drum, dance and more.  Get ready to free your mind, body and soul! The rest will follow. Full program here.

TIPI FOREST
Get set to play hard and get loose at The Tipi Forest, Splendour’s beating heart. Ever evolving and transforming, this legendary outdoor dance stage continues to amaze. Catch original music producers and DJ’s playing fresh beats and a range of genre bending sounds. Step into its immersive creative environment and enjoy luminous light shows, intricate lasers, otherworldly projections and inspiring performance art. Kick off the festival on Thursday evening, dance your way through the day or kick on late after the main stages close. Get ready for a sonic manifestation of pure underground sounds, including Bass, Breaks, Disco, Drum & Bass, Dub, Funk, Glitch, Hip-Hop, House, Soul, Techno, Trap, Trance and everything in between. Full program here.

THE FORUM
Take a seat, relax and flex some serious mental muscle at Splendour Forum. Join a bevy of our most prominent and interesting thinkers, politicians and musicians of the moment, as they raise the vibrations with lively discussion, panels, debates, documentaries, trivia, Q&A sessions, philosophical talks and more.

The Forum’s 2022 guest list includes journalists Hamish McDonald (The Project), Jo Lauder (triple j Hack) and Zara Seidler (The Daily Aus); science aficionados Adam Spencer and Dr Karl Kruszelnicki; musicians Patience Hodgson (The Grates), Holly Rankin (Jack River), BC Michaels (Dune Rats), Phil Jamieson (Grinspoon) and Jake Taylor (In Hearts Wake); politicians Dr Sophie Scamps, Max Chandler-Mather, Angie Bell and Peter Whish-Wilson; comedians Dan Illic, Gen Fricker and Paul McDermott; and activists Sally Scales, Anjali Sharma, Tarang Chawla and Grace Tame amongst many others.

Check out Q&A Live, climate action documentary GREEN IS THE NEW BLACK, brush up on your music trivia at cult favourite Not On Your Rider and expand your mind at one of the panels discussing topics such as the climate, war in the modern age, the changing face of Australia and much more. Full program here.

SPLENDOUR ARTS
Splendour Arts returns to North Byron Parklands with a whole new suite of artworks. Prepare to interact, create, immerse yourself and maybe snap the odd selfie or ten!

From large scale light sculptures by Sam Songailo and IKONIX to bizarre interactive photo opportunities with the legendary Andy Forbes. Take a break, make a contribution and immerse yourself in the second instalment of the Hiromi Hotel Trilogy  – Hiromi Hotel – Heartbeat. You won’t miss Lucy Dysons large scale mural at the entrance to the festival and, this year, Splendour is also launching a new project in partnership with local arts organizations to support Northern Rivers artists to make new work for the festival, titled OUT THERE FROM HERE. Xanthe Dobbie has been selected as the inaugural OUT THERE FROM HERE commission. She will attend the festival, cook up ideas and develop a new work for Splendour 2023. Full program here.

SCIENCE TENT
What do yeasts, beasts, and sexual feasts all have in common? They’re all rockin’ The Science Tent in 2022! It’s back bigger than ever to blow your mind, ignite your neurons and curl your toes in ways you never thought imaginable. Explore your bodies with Dolly Doctor, learn how fungi can free your mind or f*ck you up, check out climate-saving glowing algae, brew ideas with the yeastie boys, talk dinosaurs and all things Jurassic, get frisky (and risky), date like the planet depends on it, and heaps more! Get set for awesome interactive experiences, engrossing talks and other sick science-y stuff for the entire Splendour weekend. Full program here.COMEDY
Lovers of LOLs this one’s for you. Between bands and beers, head to the Forum tent for a daily dose of giggles with some of the hottest laughter-masters in the comedy-biz! Check out stars like Luke McGregor (Rosehaven), Geraldine Hickey (Have You Been Paying Attention), Matt Okine (The Other Guy), Michael Hing (Hobba & Hing on triple j), Nikki Britton (Just For Laughs) and tonnes more award-winning, festival-selling-out and globe-trotting funny people. Splendour Comedy Club will be dishing up the laughter left, right and centre all weekend! Full program here.

LITTLE SPLENDOUR
Calling all pint-sized punks and mini moshers! Open daily from 12noon, Little Splendour is a festival within a festival, created especially for small humans and featuring some serious headliners from the world of children’s entertainment alongside loads of activities – from a knee-trembling climbing wall to colourful, creative workshops, storytelling Tipi as well as roving entertainment, a sneaky flash mob and a painting wall where you can unleash your inner graffiti artist. Kids can get down and dirty with Costa the Garden Gnome, rock out with Bunny Racket, hit the decks at DJ Skool or head to the Art Space for activities galore. There’s also the legendary Artie Fartie Partie, where kids can paint, create, reuse and upcycle to their hearts content. Do I Gnome you? On Saturday 23 July, Little Splendour invites everyone to dress like a garden gnome. Go big or go gnome! Full program here.

Little Splendour’s family-friendly Tipi offers a safe, private and comfortable space for feeding and a nappy changing station plus there’s a professional babysitting service if you’d prefer to fly solo for a while. Bookings by July 1 are essential.

PARK(lands) STAGE
Splendour’s new PARK(lands) Stage will feature carefully curated lineups bought to you by the legends at Secret Sounds, Astral People and Love Police. Head here for the likes of Still Woozy, Wet Leg, Joy Crookes, MYD, Jarreau Vandal, Brame & Hamo, Bad//Dreems, Shannon & The Clams and many more! Full program here.

So much for you to discover over three days! Let’s go!
GORILLAZ ∙ THE STROKES ∙ TYLER, THE CREATOR ∙ YEAH YEAH YEAHS ∙ GLASS ANIMALS ∙ LIAM GALLAGHER ∙ KACEY MUSGRAVES ∙ DUKE DUMONT LIVE ∙ VIOLENT SOHO ∙ DMA’S ∙ YUNGBLUD ∙ JACK HARLOW ∙ DILLON FRANCIS ∙ TIM MINCHIN ∙ THE JUNGLE GIANTS ∙ MURA MASA ∙ AMYL & THE SNIFFERS ∙ AITCH ∙ G FLIP ∙ RUEL ∙ OLIVER TREE ∙ JUNGLE ∙ TOM MISCH ∙ GRINSPOON ∙ ORVILLE PECK ∙ PARQUET COURTS ∙ TIERRA WHACK ∙ CUB SPORT ∙ JPEGMAFIA ∙ RUBY FIELDS ∙ SOFI TUKKER ∙ METHYL ETHEL ∙ JULIA STONE ∙ BAKER BOY ∙ STELLA DONNELLY ∙ GENESIS OWUSU ∙ SURFACES ∙ HOOLIGAN HEFS ∙ THE CHATS ∙ CONFIDENCE MAN ∙ BIIG PIIG ∙ HOLLY HUMBERSTONE ∙ CHILLINIT ∙ ALEX THE ASTRONAUT ∙ MAXO KREAM ∙ ROLLING BLACKOUTS COASTAL FEVER ∙ TRIPLE ONE ∙ STILL WOOZY ∙ BAD//DREEMS ∙ MYD ∙ NORTHEAST PARTY HOUSE ∙ JOY CROOKES ∙ WET LEG ∙ MO’JU ∙ PUP ∙ MIIESHA ∙ MILDLIFE ∙ JARREAU VANDAL ∙ BRAME & HAMO ∙ SHANNON & THE CLAMS ∙ BABE RAINBOW ∙ TAI VERDES ∙ THE SNUTS ∙ SYCCO ∙ BIG TWISTY ∙ SLY WITHERS ∙ HINDS ∙ DAYGLOW ∙ STARCRAWLER ∙ ALICE IVY ∙ BUDJERAH ∙ JK-47 ∙ JEFF THE BROTHERHOOD ∙ FAZERDAZE ∙ KING STINGRAY ∙ MAKO ROAD ∙ RENFORSHORT ∙ MAY-A ∙ THE LAZY EYES ∙ ADRIAN EAGLE ∙ BANOFFEE ∙ FLOWERKID ∙ THE BUOYS ∙ MOKTAR ∙ STEVAN ∙ THE SOUL MOVERS ∙ GEORGE ALICE ∙ 1300 ∙ MICKEY KOJAK ∙ DRO CAREY & DJ SCORPION ∙ PRICIE ∙ MYLEE GRACE ∙ ANDY GOLLEDGE ∙ CHARLIE COLLINS ∙ PINK MATTER ∙ MEMPHIS LK (DJ) ∙ TRIPLE J UNEARTHED WINNERS ∙ PLUS MIX-UP DJ’S ∙ DENA AMY ∙ JORDAN BRANDO ∙ SHANTAN WANTAN ICHIBAN ∙ LUEN ∙ HONEY POINT ∙ AK SPORTS ∙ AYWY ∙ CAROLINA GASOLINA ∙ MUNASIB
FINAL PRE-LOVED TICKETS ON SALE NOW
MOSHTIX or phone 1300 GET TIX (438 849).SPLENDOUR IN THE GRASS
22, 23 & 24 July 2022
North Byron Parklands
Tweed Valley Way, Wooyung
splendourinthegrass.com
#SITG2022

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Dropkick Murphys announce new album “This Machine Still Kills Fascists” out September 30 on Dummy Luck Music

by the partae
written by the partae
Photo credit: Dave Stauble
Dropkick Murphys have announced a new album unlike anything they’ve done to date, bringing Woody Guthrie’s words to life on This Machine Still Kills Fascists, to be released digitally and on CD September 30 via the band’s Dummy Luck Music / [PIAS], with a special edition vinyl out in November. The first single and video, ‘Two 6’s Upside Down,’ will debut July 6.

In the 10 songs that make up This Machine Still Kills Fascists, Dropkick Murphys bring Woody Guthrie’s perennial jabs at life – many of which are from the 1940s and ‘50s – into the present, with the resulting music eerily relevant to today’s world. And they’ve done it all without their usual arsenal of electric guitars. In fact, not a single amplifier was used to animate Woody’s words in these songs, but DKM harnessed all of their trademark power to bring Woody’s lyrics to life.

Dropkick Murphys founder Ken Casey explained, “The project has been a long time in the making. Nora Guthrie thought her father would’ve got a kick out of us, would’ve liked us, that we were somewhat kindred spirits so to speak, which to us was a huge honor.”

The idea for the collaboration that became This Machine Still Kills Fascists has been percolating between Woody’s daughter Nora Guthrie and the band for more than a decade, with Nora curating a collection of her father’s never-published lyrics for the band over the years. The challenge was always finding the right time to pull it together. When Dropkick Murphys co-lead vocalist Al Barr was sidelined in the latter half of 2021 – taking a leave of absence from the band to care for his ailing mother – the band was apprehensive about making a normal DKM album. The perfect time to take on the Woody project had presented itself, and the band leapt at the chance to bring more of Woody’s timeless lyrics to life with a Dropkick Murphys musical twist. The end result is This Machine Still Kills Fascists – the true fruition of like-minded rebellious artists collaborating – albeit nearly a century apart.

Nora Guthrie explained, “I collected lyrics on all kinds of topics…lyrics that seemed to be needed to be said – or screamed – today. Ken Casey is a master at understanding Woody’s lyrics, which can be complicated, long, deadly serious, or totally ridiculous. DKM is capable of delivering them all.”

DKM’s James Lynch said, “Nora gave us the privilege of going through the archives and selecting some lyrics to use. The common thread that I see through everything was this love for people and this understanding of the universal truth that there is no one person fundamentally better than another person.”

Woody Guthrie wrote songs from the heart and for the common person. He made a point of showing up when it counted most, often performing at fundraisers, benefits, and rallies to champion working class causes and condemn greed, war, and unchecked capitalism – all with his guitar in hand.

This is exactly where Woody Guthrie and Dropkick Murphys intersect. Dropkick Murphys’ entire ethos of family, community, service, and action depends upon honest reporting in their music. Like Woody, showing up in real life is what makes their songs so impactful. They just are who they say they are. Whether it’s standing up to Nazi thugs or standing with working men and women on a picket line, showing up is what holds the center in DKM’s world.

As Woody once said: “A folk song is what’s wrong and how to fix it, or it could be who’s hungry and where their mouth is, or who’s out of work and where the job is, or who’s broke and where the money is, or who’s carrying a gun and where the peace is.” In both song and deed, Dropkick Murphys have always held true to this same view.

That’s no coincidence, explains Dropkick Murphys founder Ken Casey: “Woody Guthrie, he’s the original punk. He went against the grain, he fought the good fight, he spoke up and sang about his beliefs. I’m motivated by reading what he wrote and am inspired by his courage. One man and a guitar – it’s powerful stuff.”

The album title itself pays homage to the powerful message Woody Guthrie began painting on his guitars in the early 1940s, in the midst of World War II: “THIS MACHINE KILLS FASCISTS.” A man and a credo laid bare – on the face of his guitar.

This Machine Still Kills Fascists isn’t an acoustic folk departure for Dropkick Murphys – it’s a continuation of their journey with Woody Guthrie, which began nearly two decades ago when DKM covered Woody’s ‘Gonna Be A Blackout Tonight‘ on their 2003 album Blackout. The journey reached new heights a few years later when DKM founder Ken Casey discovered a few scribbled lines about Boston in the WG archive. The band painted Woody’s lyrics about their hometown into a vicious punk missive called ‘I’m Shipping Up To Boston,’ and put the song on their 2005 album The Warrior’s Code.

Dropkick Murphys and their longtime producer Ted Hutt aptly recorded This Machine Still Kills Fascists at The Church Studio in Tulsa (just a few minutes from Woody’s birthplace, and the modern-day Woody Guthrie Center). The historic studio was founded by Leon Russell and was the original location of legendary Shelter Records. During the album sessions, Dropkick Murphys made a point to visit Woody’s hometown of Okemah and walk the same streets Woody walked. Retreating to Woody’s home state of Oklahoma to record the album had a powerful effect on the band and the creative process behind these songs. Ultimately, Dropkick Murphys had so much material based on Woody’s poignant lyrics that they recorded two albums, with Vol. 2 scheduled for release in 2023.

“We wanted to get into small town America…Tulsa, into Woody’s roots and not be doing it in New York City or Boston,” said Casey.

The first single and video, ‘Two 6’s Upside Down,’ is a forlorn gambler’s lament, awash in love and loss, murder and punishment. Ken Casey said, “We all love how ‘Two 6’s…’ came out. We’ve actually been playing it live on tour in Europe and the crowds have been super enthusiastic about it. Plus we really love to play it live.”

Other standouts on the album include ‘Dig A Hole‘ – which features Dropkick Murphys’ full band performance wrapped around Woody’s rare Smithsonian Folkways recording, with DKM lead singer Ken Casey essentially dueting with Woody, with a special appearance by Woody’s grandson, Cole Quest, on Dobro guitar and backing vocals; ‘Never Git Drunk No More,’ featuring a duet between Casey and alt country artist Nikki Lane; ‘The Last One,’ with guest vocals from country roots group Turnpike Troubadours’ Evan Felker, who hails from Woody’s hometown of Okemah, and Cole Quest on Dobro; and ‘Ten Times More,’ which was written, arranged and recorded on the spot and features a guest appearance by Dom Flemons, founding member of Carolina Chocolate Drops, on harp; he also appears on ‘The Last One‘ and ‘All You Fonies.’
This Machine Still Kills Fascists by Dropkick Murphys
is out September 30 on Dummy Luck Music / [PIAS]
Pre-order: https://dropkick-murphys.ffm.to/7reo1k8.OYD
Drop Kick Murphys
This Machine Still Kills Fascists

1. Two 6’s Upside Down
2. Talking Jukebox
3. All You Fonies
4. Never Git Drunk No More (feat. Nikki Lane)
5. Ten Times More
6. The Last One (feat. Evan Felker)
7. Cadillac, Cadillac
8. Waters Are A’risin
9. Where Trouble Is At
10. Dig A Hole (feat. Woody Guthrie)
For more information on Dropkick Murphys, follow them below.
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RIP Youth

by the partae
written by the partae

Where are you currently based?

West Hollywood, California

How did you first start playing music?

When I was about 9 I wrote some really bad songs and made people watch as a friend and I performed them. REALLY bad! Good beats no structure and crap lyrics

What’s been happening recently?

Working on my EP and launching an NFT community

You’ve partnered with Peloton and R3hab, please tell us how this came about and what you’ve done together?

I was flown by Playboy Down to a party in Miami to launch Centerfold and the party was fun, Charlie XCX was dj’ing but nobody was dancing except this one really cool lady. So I went up and started dancing with her and exchanged numbers. Turns out she was the SVP of music and content partnerships for peloton, (Gwen Riley) I asked if they’d be interested to place product in my next video and she said let’s go bigger and do a Peloton edit of one of your songs and launch it for gay pride. I was thrilled obviously, we had spoken about who we’d get to do it and I had previously worked on a song with R3HAb and JOJO that wasn’t released but I loved what we did. By chance R3HAB’s manager had reached out in January to Gwen to find something to do with Peloton so it was meant to be.

At first Peloton’s DJ John Michael and I spoke about what would work in his room’s . He knows the Peloton following and what they needed to work best with the ride’s so that was interesting to hear how dynamic and functional the song needed to be. We tossed around reference’s and let R3HAB work his magic as he does. Was cool to see the song take on a new life in such a different way.

Please tell us about your other song writing placements with both international and local artists:

I got lucky , The first real producers I worked with were the Aussie DNA boys. Before they were multi platinum hit makers they are now. We were working on some songs for me and at the time, I was always like “how am I working with you guys …and you’re making music for h2o tv show about mermaids was there biggest ticket item at the time. They were so talented and still are ! … anyway,  I used to go to this bar in woolomolloo where I met UK singer Brian McFadden after a recording session one day. We became friends and one day I asked his opinion on one of my songs. One in particular he liked was a song called “Chemical Rush” said he liked it and the next day I get a call out of the blue saying he had shown his A&R manager at Universal and wanted to release the song for himself , so I went back to DNA and told the boys , they were thrilled obviously and that went on to become my first commercial release and aof my first gold record that hit #2 and got nominated for APRA dance work of the year.

Later I went on to work with Delta Goodrem and working with international; artist JoJo was a career highlight. Her voice is on Mariah Carey’s level and she takes her craft so seriously. A perfectionist at its best. So cool to witness that angel sing and ask my take on how and where she should take the song vocally was insane.

Aussie artist Nat Dunn is another Highlight, similar stance on her. I always tell her it’s your duty to over-sing everything because you have a voice that only few people on the planet possess.. “so sing into the shell little mermaid “ !!! I always joke that’s how I’ll steal her voice.

How did your creative partnership with Playboy and Cardi B come about?

As it always seems to happen with random LA moments… I literally moved into a building and started hanging out with the marketing director, Holly Ruprecht and she had instagramed me on her story, her boss Reena had seen me and asked her if I’d be into becoming a founding creator of Centerfold. Just like that!

What did you create?

I was shot by photographer Maddie Cordoba who has shot for Selena Gomez, Kris Jenner, Jessica Alba etc so that was cool, paid a fair bit of cashola and started creating and planning out events to promote being content creators who could connect with fans and monetise their videos, photos, host podcasts, live stream and all that good stuff. I was flying blind as I suck at all that but I’m learning and thank god they’re teaching me as we go and are planning more partnerships as part of an ongoing relationship. Love my playboy peeps.

Who are you listening to the moment?

Earth wind and fire . Going old school.

What do you like to do away from music?

Working on a radio show at the moment here in LA that will be a weekly gig chatting starting in July.

What’s planned for the remainder  of 2022 going into 2023?

Working on my EP and radio show. RIPYouth tour would be cool and I am hoping to get back to Australia.

Favourite food and place to hangout in LA?

Pace Restaurant in Laurel Canyon. Always a vibe, cool not pretentious place that you’d find the likes of Johnny Depp in a corner reading a book or someone smoking a Joint and drinking a glass of red whilst drawing on the walls or tables – that’s allowed, it’s a very creative space!

@weareripyouth @james_maas

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THE REGGAE MASTERS UB40 FEATURING ALI CAMPBELL ARE BACK For Their First Australian Tour in Four Years

by the partae
written by the partae

Ali Campbell, the original founder of the iconic Grammy-award winning, UK reggae group, UB40, has confirmed the band will return to Australia for their first national tour in four years presented by The Hour Group and Vandemonian Touring.

The band’s legendary songwriter and esteemed vocalist will be joined by his amazing nine-piece band for the Australian tour. Tickets are on sale from 9am Wednesday 22 June 2022 at www.thehourgroup.com.au

Formed in 1979, UB40 helped define reggae music for a generation. The ground-breaking reggae troupe topped the UK singles chart on three occasions, earned multiple Grammy nominations and sold over 70 million records as they took their smooth yet rootsy musical blend to all corners of the globe.

Kicking off on 28 September, Ali Campbell will bring his energetic stage show that he is synonymous for to Hobart, Sydney, Adelaide, Melbourne and Bribie Island in Queensland. They will also headline the sold-out music festival, Promiseland on 2nd October in the Gold Coast.

The reggae pioneers will perform classic hits that catapulted them to the forefront of the universal landscape including “Red, Red Wine,” “Kingston Town,” “One in Ten,” “Food For Thought” and more.

The band has delivered outstanding performances during their recent run of shows throughout the UK and Europe.

“The vocalists were pitch-perfect, the musicians were flawless, they held the crowd throughout the entire performance and the atmosphere was phenomenal.”

“Campbell gave an excellent performance and was in fine voice.”

In addition to a jam-packed show of the classic hits, Ali will treat fans to new material from the band’s forthcoming album, Unprecedented which will be released on 24 June and is the follow-up to 2018’s A Real Labour Of Love – which debuted at No.2, the highest charting album by any incarnation of UB40 since 1993’s Promises And Lies.

Unprecedented is fueled by the roots rocking spirit that powered UB40’s original embodiment of work and is an album to inject a little reggae sunshine into even the darkest days. It’s also a fitting memorial to Astro who sadly passed away in November 2021 following a short illness.

Ali comments, “This album is now more poignant and special than either of us could have imagined when we were recording it. Astro heartbreakingly passed just two weeks after we’d finished the final mixes, so this is a way of keeping his memory alive.”

 

“I can’t wait to get back on stage and see all our wonderful Aussie fans, it’s been incredibly difficult performing without Astro by my side.  Remembering Astro, let the music play on!”

 

 

TOUR DATES

 

UB40 FEATURING ALI CAMPBELL

 

Presented by The Hour Group, Festco  and Vandemonian Touring

Hobart – Friday, 30th September – Hobart City Hall

Sydney – Saturday, 1st October – Star Events Centre

Gold Coast – Sunday, 2nd October – Promiseland Festival (Sold Out)

Adelaide – Wednesday, 5th October – Hindley Street Music Hall

Melbourne – Friday, 7th October – Margaret Court Arena

Queensland – Saturday 8 October – Sandstone Point, Bribie Island

 

TICKETS

For all ticketing details please head to www.thehourgroup.com.au

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Kieran Christopherson gears up for release of debut record Grand Mote

by the partae
written by the partae
Where are you currently based?

I live in Lancefield in Central Victoria, which is on the lands of the Wurundjeri and Dja Dja Wurrung peoples.

How did you first start playing music?

I’m self taught, and cut my teeth in lots of shabby punk and emo bands while at high school in Frankston.

What’s been happening recently?

Doing too many things at once and stressing about all of it. Finalising the release of my record Grand Mote. Releasing season 1 of my podcast Grand Mote Radio, scoping out pre-production for season 2 of that. Working as a horticulture teacher part-time. Trying to be a good husband and a good father to our one year old daughter.

You’ve just released your new album ‘Grand Mote’ what the hell does Grand Mote mean?

There’s a great War on Drugs line about ‘the grand parade’, which I’ve always loved. That inspired me, but a parade felt too lavish. I searched for a term to juxtapose grandness and found ‘mote’, which means a spec of dust or single particle. I produced the record myself in the first instance, so it was about allowing the relative insignificance of my life experience to express itself as fully as I could.

What influenced the sound and songwriting?

Guy Faletolu, who I have worked with a lot in live music with Cousin Tony’s Brand New Firebird, co-produced and mixed the record with me. His love of RnB and the 80s is all over it, but in rather inconspicuous ways. He helped me find the palette. The sound is built on my love of folk rock, americana, and classic guitar music, but I try to add a little more ambience to it all. Not quite shoegaze, but I’m a heavy pedal user so headed in that direction.

How did you go about writing the album?
I took a fairly mean hiatus away from writing songs through the middle of my 20s. I was lost, depressed, and trying to decide who I wanted to be. When I left Cousin Tony, I found space that enabled me to slowly crank the wheels into motion again. I write simple songs, lyrically driven, but try to turn them around in interesting ways. I keep it earnest, and try to find the universal in that. Most of it was written in my living room at the piano my mother in law gave to us.
 
Where and when did you record/produce/master and who with?
I did the bulk of my recording on it at home in Lancefield, often at night after my wife was in bed. We had a child on the way, so time was of the essence. I then started collaborating with Guy and we did some work at Sunset Pig Studios in Collingwood. There is fairly big cast of characters that contributed in their own home environments too, Nick Reid played drums, Matt Hayes and Tyler Millott played bass, Lachy Rose played some keys, Peter Corrigan played a gorgeous piano part on ‘Get That Money’, Chris O’Neill composed some string parts on ‘I don’t know why I’m angry all the time’ that made me cry when I first heard them, Victor St Clair played some bonkers sax on half of it, and Guy put some perfect touches on a few songs and mastered it.

How did you approach the recording process?
I was rediscovering who I was an artist. I used to do some home recording when I was younger, so I’d had some experience, but nothing I would call capital ‘p’ production. I wasn’t even setting out to make a record at first, which was kind of liberating but also meant I had to re-track stuff that wasn’t up to scratch. It was an experiment that turned out way better and way more serious than I ever could’ve dreamed. My second full-length Tangerine is going to be a much sharper product. Grand Mote is scrappy, and sometimes unsure of itself, and I’m proud of that vulnerability.
 
What was it like self producing during lockdown?
I could’ve definitely done with some help. It was a long process, but I was heartened when I emerged from it that the people I showed the music to were fully blown away by how it had come together. Unless something significant changes in my financial situation, I’ll be self-producing forever, I’d love to set up for a month in a nice studio, but there’s no way I could manage it. I want to develop a permanent space up here instead of recording guitars in my living room.
 
Please tell us about your latest single ‘Get That Money’:
I wanted to find a way to reflect on the universally oppressive nature of our economic systems, while being conscious of the reality that I’m a white male from the middle class that owns property because people helped us. It started as a sweet ditty on an acoustic guitar, and became this big guitar jam. It’s a cool driving song, and hopefully one that people can relate to when they’re stuck on a train going to work for the man.
 
You’ve released the record with an accompanying podcast, Grand Mote Radio, please tell us about this and plans for the future: 
I had always wanted to try podcasting, I felt it would bring together much of my professional experience. In season 1 I interviewed the people that played on my record about their work, their life experience, and the modern music industry. It’s a long form interview, and I play a track from the record at the end of the episode. It was stressful to do both at once, I don’t know that I’d do it that way again. But the podcast has become quite a thing, so I’m now working on season 2. GMR will now explore the records of other musicians, and who they become through the process. I’m planning to expand the format, maybe do some live recording in front of an actual audience, and maybe get into a bit of Web 3 music territory. Nura sponsored season 1, which I was very grateful for.

How’s it been returning to solo work after 6 or 7 years co-founding Cousin Tony’s Brand New Firebird?
Leaving Cousin Tony was one of the hardest decisions I’ve had to make. Lachy and I co-founded that band, and it was our dream to play in it forever. But life changes, and now that I’ve adjusted to it continuing without me, I realise that it was never going to be forever. I needed space to do my own thing, and Cousin Tony was in many ways an apprenticeship in the music industry. I feel hyped and focussed on what I want my career to look like, and I’m loving watching it slowly reveal itself.
 
Who are you listening to at the moment?
The new Kevin Morby record is one of the coolest things I’ve heard in forever. I also loved the new Kurt Vile record. One of my best friends Nick Reid released his debut Kitsch Kitchen record last week, and it’s honestly some of the most amazing music I’ve heard come out of Melbourne this year. He is an incredible producer and multi-instrumentalist, and ‘Technicolour’ kicks in the door to what could possibly come out of his gorgeous mind. Also the new Moderat record was something I’ve been hanging out for. I saw them in Paris, sober, and it was still utterly mind blowing.
 
What do you like to do away from music?
I’m a gardener. I teach horticulture in a high school so I spend lots of time thinking about plants, and working in our garden at home. I’m also a new father, so I spend as much time as I can with our daughter, that’s been a trip.
 
What’s planned for the remainder of 2022?
I’m launching the record at the Brunswick Ballroom in Melbourne in July so prepping for that. Otherwise, teaching kids about plants, dad life, and working on the podcast. I’ll keep writing tunes for the next record, and maybe do some work on an EP in the near future. I’d like to make something ambient, lots of guitars, minimal time signatures.
 
Favourite food and place to hangout?
I fricken love this pizza joint in Lancefield called Slice of Perfection. The dude is a freak and I can’t believe we can get pizza this good in a town this small. There’s a brewery getting built here as well, so that’ll be cool when the weather warms up a little.
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Australia’s own RIP Youth Teams Up with Peloton with Exclusive R3HAB Remix of “It’s A Vibe”

by the partae
written by the partae

LISTEN TO “IT’S A VIBE (R3HAB REMIX) HERE

Australian-born, LA-based RIP Youth – the moniker of hit songwriter/producer James Maas has partnered with global fitness brand, Peloton to deliver an exclusive remix of his single, “It’s A Vibe”, from top DJ/Producer R3HAB.

The remix was exclusively premiered during Peloton Instructor Cody Rigsby and Peloton’s DJ John Michael’s ‘Pride Live DJ Ride’ at Peloton Studios New York on June 10th. “It’s A Vibe (Peloton Edit) [R3HAB Remix]” is now available via Radikal Records globally.

RIP Youth combines his love of pop, dance and R&B to create a sound that is quintessentially his own. After an audio premiere on Hollywood Life, his single “It’s A Vibe” broke into the Top 10 on iTunes Australia Dance chart, with strong radio support in Australia (Joy 94.9, 2ONE, KIIS 106.5) the United States (Nexus) and the United Kingdom.

Now “It’s A Vibe” is elevated to another level via a collaboration with one of the hottest names in dance and pop music, R3HAB. Currently ranked at #12 on the DJ Mag Top 100 DJs, R3HAB is one of the most renowned producers in music today. Starting his career in 2007 the Moroccan Dutch DJ has previously collaborated and remixed a wide variety of mega stars including Rihanna, Taylor Swift, Lady Gaga, 5 Seconds of Summer, Katy Perry, Steve Aoki, The Chainsmokers and many more.

R3HAB’s remix of RIP Youth hits as hard as you would expect, with some heavy electro house grooves. The remix is the result of a special Pride celebration collab with R3HAB, and Radikal Records, and brought to life by DJ John Michael DiSpirito, Peloton’s Producer of Music Programming, who spins during Live DJ runs and rides and helps curate the overall sound and feel of the Peloton classes he works on. The up tempo dance track has already hit over 130k streams and been included on Power Hour on Spotify (2M followers) and more.

Originally discovered by Sony BMG Australia, James Maas has collaborated and co-written Gold certified records with artists like CXLOE, JOJO and Brian McFadden. After relocating from Australia to Los Angeles he launched his solo project RIP Youth, blending irresistible melodies with euphoric dance-pop productions.

His debut single “You Love” with Bombs Away & Reigan notched over 400,000 streams, New Music Friday in Italy, #16 on Sweden’s daily charts, and significant Australian airplay leading to an official remix from Italian DJ Molella.

Most recently, James has partnered with Playboy to help launch their new creator-led, digital platform CENTERFOLD, creative directed by Cardi B. Recognized as a top creator through his interview work with artists and celebrities, James is quickly becoming an artist to watch in the world of music, entertainment and pop culture.

“Peloton is thrilled to be able to partner with RIP Youth and R3HAB to create our first exclusive remix drop for Pride 2022. The track combines the energy of the club and our signature Peloton motivation into a super fun dance track that sets a positive vibe for your summer workout or dance party!” – Gwen Riley (Senior Vice President of Music and Content Partnerships at Peloton)

“I’ve always been a fan of R3HAB since we worked together a while back so when I suggested to Peloton, we reach out we were so glad he answered the call. I’ve loved seeing him take this song in an exciting new direction and reinventing “It’s A Vibe” as a Pride anthem for the Peloton members and beyond. I’m obsessed with Peloton and how they’ve raised a community movement like no other and I’m thrilled that they chose “It’s A Vibe” as their Pride Month theme.”– RIP Youth

“Music is essential to my workout routine – the right mix can really make or break a session. The opportunity to develop a remix specifically for workouts was invigorating and really got me thinking about my process, and how I could produce in a way that fits perfectly for a great cycling session. Working with Peloton on the “It’s A Vibe” remix has been a great time and I can’t wait to see the Peloton community connect with it.” – R3HAB

It’s A Vibe [R3HAB Remix] is available now.

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Planisphere

by the partae
written by the partae
Where are you currently based?
 
We’re currently based in the thriving scene of Brisbane/Meanjin.
 
How did Planisphere come about?
 
The band started out originally under the name ‘Canondrome’ as a two piece, chasing that more rawer fuzzy rock garage sound. Then unfortunately Sam [drummer] had to relocate to Melb, and with the addition of Jai [synth] and Kane [drums] we are where we are today going for that electronic influenced heavy rock.
What’s been happening recently?
 
Heaps! The new EP came out last week so we’re still stoked about that, and we’re tuning up the live show for the joint release event on 22/07 with our mates Dad Fight at Black Bear Lodge.
 
What’s the title of your new EP?
 
The new EP is called ‘Fame or Tragedy’.
 
Please tell us about what influenced the sound and songwriting?
 
The sound and songwriting is a bit of a melting pot of modern rock/metal, electronic and punk music we’re listening to and each track was sort of influenced by a different aesthetic/sound. Commander is very 80’s synthwave ft a guitar solo.  Underneath came from a punkier Death From Above/drum & bass place, and Fury was more inspired by recent danceable rock by bands such as Royal Blood.
 
How did you go about writing the music?
 
For these tracks and most others the process generally starts with a jam and a single theme/idea/beat that we latch onto, and build the song around that! Underneath and I’m Not Trying to Be Mean were quite older ideas that we picked up from the archives and dusted off, so it’s great to see them come to fruition.
 
Where and when did you record/produce/master and who with?
 
The EP was recorded and mixed by Brock Weston [Bugs], and mastered by Joe Carra at Crystal Mastering in Melbourne.
 
How did you approach the recording process?
 
The recording process itself was pretty simple once we got to it.  Over 2 days we tracked all drums and 90% of guitars.  Then Lorcan & Jai went away and recorded the vocals, synths, remainder of the guitars and any other overdubs separately at home and sent them in to be mixed with the rest of it.
 
What does this EP mean to you?
 
For us this EP represents the transformation of our sound from the rawer rock sound into something more refined with the incorporation of electronic elements to broaden the sound.  It’s the first step in that journey and although we’ve already written more material with what we see as constant improvement, we’re still very proud of the body of work.
 
What’s your favourite track on the EP, where do the ideas come from for that track?
 
One of our favourites is Red Eye.  We feel it’s a great change of pace on the EP, and features Morgan Francis singing the 2nd verse from the band Lost Goat Found.  It started out as a simple idea on acoustic guitar, inspired by early Methyl Ethyl with their ethereal plucked guitars drenched in reverb creating such a haunting atmosphere.  There was also a fair amount of influence from electronic acts like Rufus, within the synth pads that swell around through the whole track, helping lift and lower the energy with the vocal while the drums just keep the groove going.
 
What do you like to do away from music?
 
Vinos & fine dining, plunge ourselves in the ocean and cut aggressive shapes on the d-floor.
 
Who are you listening to at the moment?
 
Lorcan is listening to alot of Australian metal at the moment, such as Thornhill, Northlane etc. Apart from that we’re also loving new albums from Florence + The Machine, Foals, Jack White, Slumberjack, Kendrick & Flume.
 
What’s planned for the remainder of 2022 going into 2023?
 
Play lots of shows, record some more music and write more dance punk heaters!
 
Favourite food and place to hangout?
Tomcat (best local band venue in The Valley) or our rehearsal space. Food has gotta be GYG.

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NZ OUTFIT DAFFODILS SHARE INTIMATE NEW EP STAY THE NIGHT WATCH + LISTEN TO ‘STAY THE NIGHT’

by the partae
written by the partae
Photo by Tom Grut

PRAISE FOR DAFFODILS

“Certified earworm”
Frankie Magazine

“Energetic”
Coup De Main

“Gloomy synth-pop vibe”
Sniffers

“Refined songwriting and production”
Purple Sneakers

“Introspective and reflective lyricism”
MILKY

Aotearoa / NZ-based indie-pop foursome Daffodils today share their latest EP Stay The Night. LISTEN HERE.

Daffodils relay a melodically rich and punchy soundtrack that speaks to heart-wrenching melodrama through the familiar 80s new wave, meshed with pop-laced vocals reminiscent of Phantastic Furniture, Foals and The Lazy Eyes. Their songwriting and lyricism cover all bases of the everyday, diving between intimacy, heartbreak and coping mechanisms to craft a full-formed anthemic vessel.

Stay The Night ushers in a new sonic chapter for Daffodils, one that is shaped by each of their own experiences to shed light on the more intimate side of the band. Pairing tender and brooding lyricism with youthful instrumentalism, Daffodils set to capture the different stages of a relationship, chronicling the familiar tale of growing, learning and changing over time.

“Stay The Night is about things changing, losing people, and learning from the things you do when you’re younger” the band’s frontman Theo Spike Salmon reveals. “It’s about my experience with how hard it is to let stuff go, and how hard it is to detach yourself from regrets and painful parts of the past, which often overwhelms all the good things that happen. The last couple of years have been pretty difficult for all of us, and it’s definitely been a struggle to continue to make music. It’s felt, at points, like we’ve been taking one step forward and two steps backwards. Making this record last year in the studio felt like a massive relief after so much uncertainty and stress.” 

Joining the captivating last single ‘How Do You Know’, includes ‘Every Once In A While’, a recount of mental health struggles; ‘Never, Happier’, a straight up and down love song that deals with the difficulty of moving on after a breakup; the title track, a dramatic outburst that leans into the main character feeling; and the final song, ‘Something I’d Do’, which is a therapeutic ode to understanding that who we have been in the past isn’t necessarily the person we are today.

With fans hailing from their homestead in Aotearoa / New Zealand and beyond, Daffodils continue their trajectory that has garnered playlist support from 2SER, RTR FM, Edge Radio and more, amassing praise for their “refined songwriting and production” by Purple Sneakers, “gloomy synth-pop vibe” by Sniffers and “introspective and reflective lyricism” by MILKY amongst others.

Daffodils are one of those bands that everyone thinks they discovered first. Since emerging in 2016 after meeting at a 1975 concert, the project of Isaac Keating, Jade Bryham, Louis Graham and Theo Spike Salmon has won hearts and warmed up stages for international artists Foals and Orville Peck, as well as share festival lineups including Laneway Festival, Nest Fest and Rhythm & Vines with the likes of Rex Orange County, Clairo and Parquet Courts.

Stay The Night by Daffodils is out now
BUY/STREAM HERE

Stay connected with Daffodils:
Instagram | Facebook | Twitter | YouTube | Soundcloud

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Planisphere release new EP ‘Fame or Tragedy’

by the partae
written by the partae

Hailing from Brisbane, Planisphere have found their sound in electronically influenced heavy alt-rock. The three piece exceed boundaries on their latest independently released 5 track extended player “Fame or Tragedy”, pushing the envelope of heavy music and drawing from many styles to hone in on something truly unique with broad appeal. The EP will be available for streaming on all platforms on 10th June 2022.

Originally formed in 2018 under the name Canondrome, the then two piece (Lorcan Coates [guitar,vocals] & Sam Turner [drums]) were focussed on a rawer punk sound reminiscent of early DZ Deathrays & The White Stripes. With the departure of Sam and the addition of Kane Kennedy [drums] & Jai Snelling [synth] the new line-up was ready for a wardrobe change and to pursue the vision of the new heavy, combining elements of rock, metal and electronic music to carve out a signature sound. “Fame or Tragedy” is a bookend in the first chapter of their journey, showcasing 5 tracks which will hold something for everyone.

Recorded and mixed by Brock Weston [Bugs], the songs cover a range of themes from desperation & breaking free of societal expectations to hope, love & fiery individualism. The 1st single ‘Underneath’ set the pace with fast drum & bass-esque riffing, while the 2nd single ‘Fury’ and accompanying music video were a nod to the power metal of the 80’s. The 3rd and final single “I’m Not Trying to be Mean” kicked it up a gear with Bloc Party inspired sneering lyrical content, metal breakdowns and soaring gothic synths.

The final two tracks will complete the picture, ‘Red Eye’ also features guest vocals from Morgan Francis (Lost Goat Found). Looking ahead, Planisphere are preparing to bring the EP into the world with a release event planned for 22/07/22 at Black Bear Lodge, and to bring their sound to as many stages as they can around the country.

Links: Planisphere linktree https://linktr.ee/PLANISPHERE.BAND

Listen to EP link – https://gyro.to/FameorTragedy

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Festival NewsMusic News

Iconic festival One Electric Day returns in 2022 with five massive shows across Australia

by the partae
written by the partae

Suzi Quatro, Noiseworks, The Angels, Baby Animals, The Screaming Jets & Chocolate Starfish

TICKETS ON SALE 10AM THURSDAY 23RD JUNE THROUGH TICKETMASTER

 

Over the past decade, One Electric Day has solidified its reputation as one of Victoria’s favourite one-day music festivals. Every year the show at Werribee Park sells out in a matter of minutes. This year, organisers are not only excited to be able to take the popular event interstate again for a run of shows, but have also announced an international headliner for the first time in the festival’s history. Headlined by the Queen of rock n roll herself, Suzi Quatro, with a massive line-up that includes Noiseworks, The Angels, Baby Animals, The Screaming Jets and Chocolate Starfish, the 2022 One Electric Day is the biggest yet. With shows in Victoria, South Australia and Queensland, tickets are guaranteed to sell fast.

Organiser Duane McDonald, who is also behind the ever-popular Red Hot Summer Tour, says the opportunity to share the excitement of One Electric Day with audiences outside Werribee again this year is an exciting one.

 

“One Electric Day has become such a special event,” he says. “We see fans returning year after year and it has become an important part of people’s social calendar. We are always asked when One Electric Day will travel, so it is exciting that we have the opportunity to do that this year and even more so that Suzi Quatro will be joining us for the ride.” – Duane McDonald

Suzi Quatro is the undisputable Queen of rock and roll. Following on from her April sold-out show at London’s Royal Albert Hall, where she received nothing short of outstanding reviews. She is running hotter than ever and is heading to Australia to headline One Electric Day. Her show promises to be pedal to the floor jam-packed with hits, powerhouse vocals and unbridled energy. After selling over 55-million records (and counting), Suzi is pure rock royalty and every show is an unforgettable experience.

The return of Noiseworks is an exciting one for music fans. In the 1980s, they provided the soundtrack to every big night, with rock anthems No Lies, Take Me Back, Hot Chilli Woman, Touch and countless others. Get ready to rock as the original members reform to honour the memory of their co-founder and guitarist, the late, great, Stuart ‘Chet’ Fraser. Jon Stevens, Steve Balbi, Kevin Nicol and Justin Stanley will be joined by very special guest, Jack Jones on guitar and vocals. With the release of their new 2022 album along with all their legendary hits, Noiseworks will reignite a passion for rock n roll!

When it comes to great Aussie rock, it doesn’t come much better than The Angels. It’s been almost five decades since brothers Rick and John Brewster co-founded the iconic band and have penned some of Australia’s most anthemic tracks. The Angels are widely reputed for their killer live shows. With hits like Long Line, Marseille, Be With You, After the Rain, Shadow Boxer and Mr Damage to name a few. Baby Animals burst onto the Australian scene in the 1990s with a solid rock force and a sassy lead singer. Suze DeMarchi proved that girls rock just as hard as guys and the Baby Animals soon kicked some impressive rock butt with hits such as Rush You, Early Warning and One Word. The band scored themselves ARIA awards for best album and toured the globe.

Aussie rock doesn’t get much more powerful than The Screaming Jets. With a swag of hits such as Better, Helping Hand, Sad Song, October Grey and Come On under their belt, The Screaming Jets are renowned for their pumpin’ live performances. This year, they also celebrate the 30th anniversary of their iconic release All For One. Chocolate Starfish are the epitome of a concert party! Fronted by the enigmatic Adam Thompson, the band is known for their high energy live performances. With songs like Four Letter Word, Mountain and You’re So Vain, Chocolate Starfish powered onto the Australian music scene in the 1990s and quickly secured themselves a space as an influential force. They produced two Top 10 albums and six Top 50 singles.

 

Tickets for One Electric Day go on sale to the general public at 10am AEST Thursday 23rd June through Ticketmaster.

For more information, please visit www.oneelectricday.com.au.

ONE ELECTRIC DAY
​NOVEMBER 2022
​Suzi Quatro, Noiseworks, The Angels, Baby Animals, The Screaming Jets & Chocolate Starfish
​Victor Harbor (SA), Mornington (VIC), Werribee (VIC), Bribie Island (QLD), Southport (QLD)

FRONTIER MEMBERS PRE-SALE ​​
​via frontiertouring.com/oneelectricday
​Runs 24 hours from: Tuesday 21 June (10am AEST)
​​or until pre-sale allocation exhausted

GENERAL PUBLIC ON SALE
​Begins: Thursday 23 June (10am AEST)

ONE ELECTRIC DAY
​Saturday 5 November
​Kent Reserve | Victor Harbor, SA
​18+
​www.ticketmaster.com.au | 136 100

ONE ELECTRIC DAY
​Saturday 19 November
​Mornington Racecourse | Mornington, VIC
​18+
​www.ticketmaster.com.au | 136 100

ONE ELECTRIC DAY
​Sunday 20 November
​Werribee Park on the Great Lawn | Werribee, VIC
​All Ages
​www.ticketmaster.com.au | 136 100

ONE ELECTRIC DAY
​Saturday 26 November
​Sandstone Point Hotel | Bribie Island, QLD
​18+
​www.ticketmaster.com.au | 136 100

ONE ELECTRIC DAY
​Sunday 27 November
​Broadwater Parklands | Southport, QLD
​18+
​www.ticketmaster.com.au | 136 100

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