Music News
Corduroy Spaceship reveals striking sophomore EP, Life In Hollywood
Two years on from his impactful debut EP Custard Gumboot, Melbourne’s Corduroy Spaceship returns to deliver its stunning follow on record: Life In Hollywood.
His most defining work to date, Life In Hollywood is an EP that finds strength in its musical complexities and use of different shades and tone. A significant step forward from his Custard Gumboot era, Corduroy Spaceship broadens his horizons with Life In Hollywood, breaking new ground for the artist as a songwriter and performer.
Across its five tracks, the musician and producer is at a new creative peak, demonstrating the material that speaks to the type of artist he has been flourishing into over the past three years. Confident, curious and completely in touch with a wide range of sonic influences.
The EP features previous singles including ‘I Don’t Cry’ from earlier this year and the more recent ‘She Wants You (I Don’t Know Why)’, and with ‘Homage #1 Part 1’, ‘Homage #1 Part 2’ and the EP’s title track, Corduroy Spaceship further introduces himself to newcomers while realigning his sonic identity for long time followers.
Comparisons to Tame Impala and Methyl Ethel aside, the sort of music Corduroy Spaceship has been making exists within this sun-kissed psych realm, but with his own vibrancy added, we’re getting an insight into his own approach to instrumentation – the craft of music itself.
Writing and recording the EP in Melbourne, Corduroy Spaceship took the opportunity to delve into the technical side of the process and learned a lot throughout the process.
“This process can be quite a lonely one when working by yourself. There is no one to bounce ideas off or gain some kind of confidence from, which I find creates a never ending loop with no feedback. You end up recording each part a thousand times thinking you can make it better, but the reality is the first or second take is usually the best. I gained an abundance of new recording gear through the 18 months it took to finish the EP, so as I added to my arsenal of gear the sounds developed and evolved. You can hear this throughout the record, especially in the vocals.” Corduroy Spaceship
PRAISE FOR CORDUROY SPACESHIP
“Cordy Boy coming through like the east coast Kevin Parker. Psych-pop embalmed in marmalade sounds.”
Triple J Unearthed, Dave Ruby Howe
“Getting so lost in this thick psych indie pop that has a big adventurous spirit.”
Triple J, Declan Byrne
“Corduroy Spaceship unveils a Fantasia of sound, honouring the wave party that is modern psychedelia.”
Happy Magazine
The Life In Hollywood EP is out now.
Official Website | Facebook | Twitter | Instagram | YouTube | Triple J Unearthed
Abby Fuller is a Sydney based singer/songwriter, producer and multi- instrumentalist emerging in the Australian music scene. She has been writing music since she was 10 years old and is now honing in on her craft at the Conservatorium of Music, Sydney. Abby strives to weave her favourite music into her own style, ranging from acoustic ballads to fully realised funk bops.
https://abbyfullermusic.com
https://www.youtube.com/
Instagram: @abbyfulllermusic
Facebook: Abby Fuller MUSIC
SoundCloud: Abby Fuller MUSIC
Saudi’s Top Female DJ Cosmicat Releases Debut Vocal Underground Single “Toxic Romance.” Out Now on MDLBEAST Records
Title: Toxic Romance
Label: MDLBEAST Records
Saudi Arabia‘s first and leading female DJ and producer Cosmicat makes her stunning debut with the first-ever single “Toxic Romance,” introducing herself to the global market as a sultry underground queen with both dancefloor and emotive potential. The track uses big-room synths and a rumbling, techno-influenced bassline to contrast exquisitely with her own feathery vocals; in this way, Cosmicat creates a soundscape that is both bold and delicate, personifying her own identity as a female artist who is trailblazing the electronic music scene in a culture that has traditionally forbid women from making any style of music. “Toxic Romance” is only the beginning for Cosmicat, so stay tuned to see what’s next as she establishes herself among electronic’s most exciting rising artists.
“When I was working on ‘Toxic Romance,’ all I had on my mind was that I wanted to create the sound I love. It got me romanticizing about my relationship with it, as it’s a human being; how it was there for me every time I needed it or how I always come around to seek and chase it. On the sonic level, I wanted to add a big-sounding synth to make the track sound bold and highlight how synthesizers and electronic music can coexist with gentle whispering and my own vocals. I believe this makes ‘Toxic Romance‘ sounding delicate and personal, while still being dancefloor-friendly.” – Cosmicat
As she rises from the underground, the world is ready to be introduced to Nouf Sufyani – better known as Cosmicat – as the first and leading Saudi female DJ & producer in the electronic scene. Born and raised in Jeddah, Cosmicat always had a strong passion for music in a world where it was considered taboo; there were limited record and music equipment stores and no live performances. Cultural protocol meant that she had to keep her passion a secret, so Cosmicat worked toward the more realistic 9-5 career but never gave up on her dream of producing. She became a “bedroom DJ” and taught herself everything she needed to know about producing in private. In 2019 she performed at the first music festival in Saudi Arabia – MDLBEAST‘s Soundstorm (which was also the biggest in the Middle East). Her reach quickly expanded to Bahrain, Lebanon, Kuwait, United Arab Emirates, where she performed, and now she’s gearing up for the release of her debut original single. I believe that Nouf is a perfect example showing that it’s important to be persistent and take the chance whenever it arises. Currently, there are more female DJs in Saudi Arabia who support and empower one another, with Cosmicat being the first/leading one, paving the way for other Saudi female DJs. She also hosts her own TV show. Privately she’s a cat lady (hence the artist’s name). Her personal favorites are Solomun, Peggy Gou, and Jamie Jones.
Sarah Jane is a prolific Alt-Rock, Indie singer, songwriter from Sydney, Australia who has amassed a huge online following. The singles for the videos ‘Lately’ and ‘Apparently’ from the upcoming ‘Moth’ EP are close to hitting 50,000 video views between them.
With over 295,000 subscribers and over 30 million views on YouTube it would be accurate to call the young musician a viral sensation. The six-track ‘Moth’ EP arrives on vinyl and streaming today Friday May 28th.
LISTEN/PLAY
Sarah Jane Moth Tracklist
1. Finger
2. Lately
3. Kiss Cross
4. I Complain Too Much
5. Nothing You Can Do
6. Apparently
Store link (HERE (VINYL+ SHIRTS)
Moth EP Launch Friday 4th June 2021, Three Wise Monkeys, Sydney, NSW
https://moshtix.com.au/v2/
Sarah Jane Quote
“The idea of ‘moth’ is seeing the beauty in things that aren’t usually seen as such. I found with my experiences in life, my music is what comes from negative experiences. I’m also fascinated by how music can distract from the meaning of songs. You know that song you’ve been singing to for years and you have no idea what it means…just because the music makes you feel something.
I want to bring some positivity from the pain I’ve experienced and hopefully it will give someone something to relate to, or just to vibe with, either is fine!”
The new EP follows two solo albums “Absence’, an acoustic album released in 2019, and the album ‘Tainted Timeline” released late in 2020. Sarah Jane has released two full-length records with her band ‘The Violet Stones’ over the same period.
BELOVED SYDNEY ALT-POP BAND I KNOW LEOPARD RETURN WITH NEW SINGLE ‘LOVER AUTOMATIC’ + ANIMATED VIDEO AND LAUNCH SHOWS + SIGN WORLDWIDE DEAL WITH BELIEVE
Sydney trio I Know Leopard are back with “Lover Automatic”, their first new music since their acclaimed 2019 album Love Is A Landmine. They’ve also announced June live dates to launch the single in Sydney and Melbourne.
“Lover Automatic” sees the band shifting to a sugar-coated, hyper-coloured take on alt-pop that flirts with an almost lo-fi hip-hop aesthetic but their knack for timeless infectious pop hooks is as strong as ever. They may have moved from their previous ‘70s soft rock inspired sound but the band’s other trademark elements remain present: Jenny McCullagh’s violin provides gilding to the melody and brilliant decorative flourishes while Rosie Fitzgerald’s fluid bass playing adds extra rhythmic bounce (which helps explain why she is fast becoming one of Australia’s busiest session bass players). Luke O’Loughlin’s falsetto vocal sings of being defenceless in the face of new love regardless of how acquainted we are with its perils.
“Can’t you tell
That I’m ready for a new kind of hell
if you are as well”
The song was co-produced and mixed by Konstantin Kersting, who has found success with his work with Tones & I, The Jungle Giants, Mallrat, The Rubens, Tia Gostelow and WAAX. The animated video by Sydney designer Luke Saunders sees Luke, Rosie and Jenny reborn as vampires travelling through a sweetly psychedelic landscape that’s something like a 1980s Japanese remake of Yellow Submarine (but with vampires).
The band are also excited to have entered into a worldwide distribution deal with Believe. “We are thrilled to be working with I Know Leopard, and are looking forward to sharing ‘Lover Automatic’ with the world” commented Mick Tarbuk, head of Believe for Australia & New Zealand.
To launch “Lover Automatic” the band return to the stage for their first shows in 18 months, hitting Melbourne and Sydney with special guests Georgia June. These performances will be the first chance to hear some of the new music they’ve been working on during lockdown and that they plan to release later in 2021. Luke O’Loughlin has also been keeping busy co-writing with other artists, notably US act The Knocks, on the 2020 track “All About You”, which also featured Mark Foster of Foster The People on vocals.
I KNOW LEOPARD
‘Lover Automatic’
OUT NOW
performing on
Friday, 18th June
The Night Cat, Melbourne
Saturday, 26th June
Oxford Art Factory
When The Southern River band released “Vice City 1” back in 2018, their reputation as a wild rocking outfit was only just starting to spread around their home state, since then their sophomore studio album Rumour & Innuendo and tours with the likes of The Darkness, Cold Chisel and sold out headline shows right around the country have proven that Aussie rock is in the safest of hands.
“Vice City II” leaves no doubt that as one of Australia’s premiere live acts, The Southern River Band are more than able to translate that raw power into the confines of the studio, producing one of their most inspired singles to date.
The Southern River Band launch Vice City II this weekend with two WA shows, at The Prince of Wales in Bunbury on the 28th of May, then at The Ravenswood Hotel on May 29th.
JULIA JACKLIN x RVG TEAM UP TO RELEASE A COVER OF BJORK’S ‘ARMY OF ME’
Julia Jacklin and RVG team up for a fierce take on Bjork’s ‘Army of Me’ as part of Rising Singles Club’s monthly full-moon releases.
The reimagining sees Jacklin and RVG add their own unique flair to ‘Army of Me’, whilst still retaining all of the intensity and frenetic energy of Bjork’s stunning original. Jacklin’s distinctive vocals echo over dissonant guitar tremors and bring forth the dark allure of the track.
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Julia Jacklin x RVG – ‘Army of Me’
Out now through Liberation Records
Buy/stream here
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MUSTAFA Debut album When Smoke Rises out now! New video for ‘The Hearse’ Performs on The Tonight Show Starring Jimmy Fallon
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Twenty-four year old singer/songwriter Mustafa Ahmed grew up fighting. He would do so firstly as a child growing up in Toronto’s Regent Park community, matching up with other children his age at the behest of the older kids from around the way. Somehow, it did not harden him. He would continue fighting, though now against stereotypes, as an adolescent poet dispelling notions of who Black Muslims from Regent Park were with every stanza of his continuously celebrated poetry. He would attempt to fight again, this time on behalf of his immediate community, as a member of Prime Minister Justin Trudeau’s Youth Advisory Council, an effort that helped him realise his mission would be better served by amplifying the stories he’d collected over the years through song. And that is how we got Mustafa, child of Sudanese Muslim immigrants, one time Pan American Games Poet Laureate, cherished collaborator of acts like Majid Jordan, The Weeknd, and Khalid, and the artist whose debut project When Smoke Rises aims to exalt the Regent Park MC whose legacy Mustafa fights for now, Jahvante “Smoke Dawg” Smart.
“It just kind of shattered my entire world,” Mustafa says of Smoke Dawg’s murder. “I didn’t even realize how much weight we shared until I had to take that weight on for myself.” More painfully then, When Smoke Rises isn’t even only about Smoke Dawg. The project references a number of presences taken from Mustafa, names like Ano, Santana, and Ali, the friend whose doom Mustafa might have actually felt when he’d ask Ali to relocate for fear of such an unsavory end. That story, titled for its subject, appears as track six on When Smoke Rises. “All of the deaths that I experienced, I experienced through the time constraints of mourning,” Mustafa says. “Specifically, for young black people in inner city communities that die while at war with the state or at war with themselves, I wanted to beautify those departures. Because none of those departures were made beautiful for me.” On When Smoke Rises, Mustafa has sewn these departures – and his attempts to cope with them – into song, immortalising friends in the most honest way he knows how. Through his interpretation of folk music.
“The first folk singer I was introduced to was Joni Mitchell,” Mustafa says. “But Joni Mitchell, Bob Dylan – they were anodising the White experience. But in hearing them, there was a kind of melancholy or sadness – something I didn’t hear in the songs that were representing the nuances of my life.” Ultimately, it was a video of Black American folk singer Richie Havens performing Woodstock that would empower him to perfect his medium. “When you see someone that looks like you, that feels like you, embodying the emotion that you are familiar with, it gives you the courage to walk in that path,” Mustafa says. He would reference the performance at every recording session thereafter. Racking up songwriting credits for pop stars while he developed his personal style, Mustafa would become one of the industry’s most sought after pens, understanding that the kind of music he helped to make great for others couldn’t possibly support the stories he needed to tell. For his diligence, both as student and creator, we get When Smoke Rises, a release that balances the impossible heft of honoring fallen comrades with the tenderness of a mother singing to a newborn. And it’s buttressed by Islam.
“It’s so important to be able to look at God,” Mustafa says. “As something someone can hold for themselves. Of course I want to be able to raise people’s tolerance level for Muslims, but even bigger than that, I want Muslims, themselves, to know that no one can take God away from them.” You’re likely to believe you hear God working through Mustafa on songs like ‘Stay Alive’, where he declares unconditional support for the Regent Park archetypes he knows so well and on ‘Air Forces’, where he can be heard pleading with these same affiliates to do their best to stay out of harm’s way. Then there is ‘What About Heaven’ where he wonders if the friends he’s lost have done enough to be forgiven for their sins and ‘The Hearse’ where a startling authenticity trumps even the singer’s purest intentions, Mustafa acknowledging revenge impulses in the presence of a friend’s dead body. “With my dogs/Right or wrong,” he sings.
How did you first start playing music? I started teach myself guitar in the afternoons after school in grade 4.
What’s been happening recently? Not a whole lot recently. Heaps or surfing around here and the Gold Coast which has been nice. And started writing new music again which is fun.
How did you approach the recording process? I tend to go into the studio with the smallest of ideas, (sometimes a blank canvas) and see what comes out of it. I don’t like going in with too many ideas if it doesn’t feel right. I like keeping it open on the day.
What did you find most challenging and rewarding during the creation of Slow Mornings? I had about 3 or 4 months of writer’s block whilst I was on tour late last year which was super frustrating. But once I stayed still for a week, I got back into that rhythm of writing again and getting songs down.
How’s life on the road touring with your van? Love it! Obviously it has its highs and lows but I love touring the way I do. It’s just super easy!
What do you like to do away from music? I figured all I really do now outside of music is surf hahaha. If I’m not surfing for exercise, I love running and being outside. But also I try and catch up with friends and family if I’ve got time off.
What’s planned for the rest of 2021? I finish this tour in June and then will have a bit of time off to chill and maybe write and record some more music. Then hopefully wrap up with some more shows towards the end of the year!
Grown from burnished soil, ocean rain, mossy West Coast forests and winds that blow in from elsewhere, Georgia Lee Johnson
LISTEN/PLAY
Ok Sure & Osopho are doing something really different in their individual projects, as two thirds of Queens of Club and in this outstanding collaboration “Blind”.
These Melbourne producers will throw around terms like Witch-Pop and Gothtronica, so you can tell there is a sense of humour in there. But the sheer darkness of the track seems to push all the fun and games to the side. The music is sensual and scary at the same time “….like being tied to a chair at a Satanist burlesque show”, the seductive vocals lower your inhibitions before the demonic synth-work sends legions of nanobots to attack your nervous system.
If you’re looking for musical references, you might get hints of scandenavian electro and some 90s industrial but there are elements in there that are used to the loud PAs of clubs and festivals paying homage to a techno background. Is there enough music like this coming out to instigate an entire moment? We’ll have to wait and see but if you’re looking for something unusual, sexy and edgy, check out this new track from Ok Sure & Osopho and be sure to keep and ear out for future moments of lustful intrigue.
STREAM/BUY
KORELESS Shares new single ‘Joy Squad’ Announces debut album Agor, out July 9
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There is an idea of hidden depths suggested by the title of Koreless’ debut album. Agor is the Welsh word for open and it’s an apt name for a recording which exists at sensory thresholds, helping guide the listener from one realm to another less visited. It straddles various worlds of dance, ambient and contemporary classical while not sounding like an example of any of them. Talking to the artist, Lewis Roberts, it is clear that this idea of a misleadingly calm surface hiding strange depths has been with him for life.
Lewis grew up in the Welsh coastal town of Bangor, in a house built on the banks of a strong flowing estuarine river, spending his youth getting into scrapes sailing near the notoriously dangerous Menai Strait. He took his knowledge of the sea to study Marine Engineering at university. But even while learning about naval studies, he found he was thinking about music: “In the interview for my course, I was asked what would happen if I were to add these three waveforms together. I already knew the answer because I had been playing about with vst synths, with sound waves.”
Lewis began creating rudimentary tunes on a big old desktop computer running Cakewalk and VJ, which had been gifted to him by a Café del Mar-loving uncle. This gift proved crucial to Lewis. Rural North Wales can feel very distant from any music scene, but this old computer’s hard drive contained an “encyclopedic body of pop, electronica, chill out and house” ranging from Moby to Lemon Jelly. This cache was essentially Lewis’ introduction to listening to electronic music; it made him realise he wanted to be a music producer, and by the time he left school, Lewis had unlocked the processes that allowed Koreless to be born.
After a series of startling early releases, including his debut EP – 4D – in 2011, he started working with the London based label Young, releasing collaborative work with Sampha and the game-changing Yūgen EP later that year. And then he eventually turned his attention to his debut album, which has, admittedly, taken much longer to finish than anyone had envisaged.
Not all of the time since has been spent on his debut – he has worked on various collaborative projects: touring worldwide with his A/V show ‘The Well’ with Emmanuel Biard, performing with Sharon Eyal and Gai Behar’s L-E-V Dance Company at Bold Tendencies in 2019, and not to mention 18 months on and off working with FKA twigs on the critically acclaimed Magdalene album, alongside other high-profile ghost production work. Roberts has also re-imagined Britten‘s interlude ‘Moonlight‘, and recently recorded remixes for Perfume Genius and Caribou. Even so, Agor has been a long time in the making. He admits he became obsessive with his own work.
By way of explaining how he spent so long refining every last detail of the album down to the granular level – something he describes as a “sickly obsession” – he quotes the visionary English director and artist Derek Jarman, talking about his work on the film Caravaggio: “I rewrote that script 17 times… it was actually an adventure, and sometimes it got very depressing because it went on and on and on… but actually it was one of the most productive moments of my life”.
He sighs when explaining: “I work very quickly actually, but I’m also very thorough, and find it hard to leave stones unturned. Some of the tracks on this album have been through hundreds of iterations. Getting from the start to the end of the track is such a twisted journey for me. I’m talking about spending 15 hours a day, seven days a week over a period of years.”
One of his radical methods for manipulating sound came from an idea as old as the history of revolutionary electronic music itself – using gear for a job it wasn’t designed for: “Some of the plug-ins I was using weren’t designed for soft synths, they were actually audio repair tools. Podcasters use them to take ‘pops’ out of their audio but if you use that tool 500 times on the same sample you end up with nothing left bar a little glimmer of sound… with methods like this, there was an accidental way of finding my way through the record.”
But, like someone diving through the glassy, becalmed surface of an ocean, only to suffer a wave of sheer existential panic on realising that there are unfathomable depths below, Lewis initially went through something of a crisis that looked like it might fatally capsize the project: “I realised the depth of what I was doing was fractal. There was no actual end to the record in sight. I was obsessed with structure and song as well as texture – they had to be right of course – but once I had the song, that was when the real trouble began. “I would focus on one tiny detail for a day. I would bounce that one element out into a new session and process it a thousand different ways – sometimes literally – having to then judge which the best iteration of that sliver of sound was. Then I would reintroduce that one detail back in and judge how that would then affect everything else. It was quite recursive. The piece would feed back on itself in quite a cybernetic way. But it could have gone on forever.”
Just as it was seeming like the process might never end, sanity, and closure, came finally in the unlikely form of heavy metal. Lewis explains that he decided just to arrange the tracks as they were: “I found a Quora post written by a metalhead describing the best way to structure an album. So I tried his suggestion and I was like, ‘Yeah, it feels really good.’ The record didn’t feel finished until I did that.”
Agor is unlike any other record you’ll hear. It straddles the worlds of ambient and contemporary classical while not sounding like an example of either. The bristling ecstatic trills and rushes of ‘Yonder‘ rub up against the euphoric breeze of ‘Black Rainbow‘, ‘Shellshock‘ and ‘Joy Squad,’ while ‘Act(s)‘ and ‘Strangers‘ connect Lewis to a much more distant world: a cybernetic daydream of the composers Benjamin Britten and Edward Elgar. Speaking about Britten, Lewis says: “It makes sense to me on a harmonic level. Compared to other music of that time, his music was ostensibly sweet and followed clear rules, but there’s always something in there that doesn’t quite add up. Something just below the surface, like a crushing inevitability”.
The album’s lead single, ‘White Picket Fence,’ has a spine-tingling anthemic quality to it – with a symphonic melody and a faceless vocal hook. An evidence of Robert’s mass refinement, there are subtle occurrences throughout which he refers to as “ruptures”, where the “bottom falls out of the track and it suddenly collapses into nothingness, like a plane taking off then bursting into the clouds”. It also happens on ‘Frozen‘ he explains – “you get some gut-wrenching feeling when the music bursts outwards and collapses into nothing”.
The Agor album cover features artwork by visual artist Daniel Swan. It is the result of a trip to the mountains near Snowdonia, where he and Roberts hiked and built a sequence of home-spun portal machines threading a path through the mountains into the forest. “It’s like the idea of physical objects which link together” Swan says, “taking you on a specific geographical journey, acting like lenses to view the landscape differently, kind of an analogue of the way the tracks of the record might change the way you experience specific places in a certain way”.
When he speaks about this attention to detail – of breaking sound apart into tiny fragments and reassembling it in complex patterns – he reaches for a literary comparison: “When it comes to the manipulation of time and the perception of time, I think about the writer JG Ballard. In the novel Crash, he describes an automobile accident in such clinical detail that it stops being a horrific event and becomes like the act of peeling a fig. So in that process even the most violent thing can become fascinating, beautiful and catalogued. I’m interested in slow motion. In violent events occurring so slowly that they become quite beautiful.”
Agor welcomes you to dive into a world of beauty, ecstasy and slow-motion horror, just below the surface.
Pre-order / pre-save Agor: https://koreless.ffm.to/
Who are Jubël? – what does the name mean?
Jubël is a Swedish pop duo, with me Victor and Sebastian.
The Swedish word ”jubel” means a cheering crowd.
Describe your sound:
Our sound is organic driven pop with electronic influences. We always try to focus on strong melodies.
What is your overall vibe?
We want to bring warm, joyful vibes. We often write about longing for summer and good times.
Do you both play instruments? How are the roles divided between you – does one of you write, the other produce?
We both play guitar.
The process is different from each song but Sebastian is the main producer and we always work together when writing melodies and lyrics.
You live in Stockholm, If we were to visit for one day what is the most important thing to see or do?
Visit the archipelagos during summer is a must! Taking the boat between different places and just enjoy the beautiful landscape.
You have worked with some cool brands who have taken on your music for their commercials – tell me about these:
We’ve been featured in a instore campaign with HM with one of our first single ”Illusion”. It was really cool getting videos sent from all over the world with our song getting played in the store.
Sweden is a nation of DJs – Do you DJ? Do you prefer to per perform live on stage?
We did DJ a lot a few years ago, good or not, we had a really fun run :)!
When we created Jubël we wanted to be more interactive with the audience so Live was the way to go. We feel more hyped about going on stage playing Live.
Do you think that the EDM from Sweden DJs over the last few year have elevated Sweden on the global electronic music map?
Absolutely, the EDM wave was/is huge with Sweden in the top. This has made a very big impact on the scene I would say.
Tell me about your new release Dumb, What is it about? How does it sound? Where should we listen to it?
It’s a love story about wanting to reach out to someone but being afraid of getting neglected. We wanted to make something fun and catchy. The song is up-tempo with a strong guitar hook, lots of nice vibes. You can listen to it on all Platforms.
The video is fun and has the ultimate twist, don’t tell us the ending but what was the idea and the styling behind it?
We wanted to keep the retro theme from the ”Weekend Vibe” video. The director Sebastian Sandblad got a story from listening to the song and we loved all of his ideas.
Are you hopeful for the future for music and gatherings now we have the vaccine?
The future looks bright, we are super excited to go out traveling and finally doing shows again. It will be great !
JUBËL- DUMB
OUT NOW
MAPLE GLIDER RELEASES NEW SINGLE ‘BABY TIGER’ DEBUT ALBUM ‘TO ENJOY IS THE ONLY THING’ OUT JUNE 25 VIA PIEATER / PARTISAN RECORDS
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Maple Glider (aka Tori Zietsch) has connected easily and immediately with a world-wide fanbase. ‘As Tradition‘, ‘Good Thing‘ and ‘Swimming‘ have garnered international acclaim from Bob Boilen‘s All Songs Considered on NPR, Stereogum, Paste, PAPER Magazine, NME, Uproxx, American Songwriter, Dork, Consequence of Sound, Brooklyn Vegan, KUTX, Pilerats and many more. Locally, Maple Glider has been supported by playlist additions across Double J and triple j Unearthed, alongside community radio stations FBi Radio, Triple R, RTR FM, 2SER and Edge Radio.
Working with Pieater at home in Australia and Partisan Records for a world-wide release, including a first pressing of pearly green vinyl, the Naarm/Melbourne based singer-songwriter can already boast over 2.5 million streams across her first three singles, and has sold out her debut headline show within a week. Fans will receive a zine with all vinyl pre-orders, and can pick up a tie-dye tee with the LP logo up-titled to To “Fang It” is the Only Thing… a personal saying of Tori’s, inspiring one of her tattoos (see below). Stay tuned as Maple Glider readies to take flight with her debut album, To Enjoy is the Only Thing out June 25.
‘Baby Tiger‘ is out now, buy/stream it here.
TO ENJOY IS THE ONLY THING
The debut album by Maple Glider
Out June 25th via Pieater (ANZ) and Partisan Records (ROW)
Pre-order is available now.
TRACKLIST
As Tradition
Swimming
View From This Side
Friend
Be Mean, It’s Kinder Than Crying
Good Thing
Baby Tiger
Performer
Mama It’s Christmas
Stay connected with:
Maple Glider: Facebook | Twitter | Instagram | Youtube
Pieater: Pieater.net | Instagram | Twitter | Facebook | YouTube | Tumblr