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With the release of their new studio album Sanctuary later this year, Sydney’s Thunder Fox are coming back on to radars with a new sound. It’s a sound that still remains core to the band’s original sonic identity: an effortless blend of pop, soul, R&B and indie, but also dives deep into some great new influences.

From the record, the band shares its first single – ‘Not For Sale’ – a dynamic example of the creative high the band has been on throughout the production and recording of the album as a whole.

‘Not For Sale’, recorded by Thunder Fox in Nambucca Heads, was mixed by Daniel Willington (Iluka, Good Lekker) and mastered by Steve Smart (Tash Sultana) at Sydney’s Studios 301. The song is also an early example of the-new Thunder Fox member Casey Allan’s input on bass. Throughout the entirety of Sanctuary, the listener gets a great grasp on how the creative dynamic between the band members has galvanised; making ‘Not For Sale’ a prime single to lead with.

“‘Not For Sale’ is our introduction to Thunder Fox’s new sound. Casey, being a relatively new addition to the band at the time, brought with him a synth bass and a set of fingers carved by the Gods. Man, he had such a groove on that pile of plastic, the rest of us were floored. We wanted to write something dark, but funky (duh), and bad boy Casey had just the stuff. 

The lyrics here are also self-explanatory: I know I’m not the only one who had it etched into their brain early on, by social media among other sources, that success and happiness is defined by finance, followers and fame. Damn, we were wrong. Sometimes we lose ourselves so immensely to the pursuit of materialistic ends, we forget how ridiculous it all is. I know I did.”
Thunder Fox, Sam Dawes

the East Coast. Their music, taking influences from artists as varied as D’Angelo and Winston Surfshirt, through to Lime Cordiale and Allen Stone, shines with its depth and dedication to the genres it resides in. And at the same time, shows listeners that Thunder Fox is a band who is always thinking ahead to the next new sound.

PRAISE FOR THUNDER FOX

“Been keeping an eye on this band ‘cos they’re relentless giggers and hit that sweet spot between Winston Surfshirt and Lime Cordiale. Here’s another promising track that’s part social diatribe, part fun funk explosion.”
Triple J Unearthed, Dave Ruby Howe (‘Smokin’ On Loosies’, 2020)

“…sultry sax-iness and funk-drenched…a groove-laden number that is set to get feet churning and hips swaying.”
Scenestr (‘Been Busy’, 2019)

“Their music is fun and bawdy, yet with a sexy sophistication that makes it incredibly appealing.”
Eclectic Music Lover

“…funk-drenched blast of horns, harmonies, humour and bucketloads of Thunder Fox swagger.”
Music Feeds 

‘Not For Sale’ is out now.
SANCTUARY is released Thursday, November 18th.

Official Website | Facebook | Twitter | Instagram | YouTube | Triple J Unearthed

Photo Credit: Anastasia Pozhidaeva

Photo by Nick Herbert & Parker Corey

PRAISE FOR INJURY RESERVE

“Injury Reserve feels remarkably fresh and singular”
Pitchfork

“With each project, the band continues to artfully toe the line between experimental and relatable”
Billboard

“One of the best new groups in hip-hop”
Pigeons & Planes

“Accompanied by production that moves like a series of hard-hitting waves,
it’s a tantalizing taste of what’s to come.”
COMPLEX

“Injury Reserve are dip, dodging, and diving their way up”
Acclaim

The album’s release follows the band’s recent glitchy and gritty single ‘Superman That’ as well as the first single shared from the aforementioned album, ‘Knees’, which NPR’s Reanna Cruz lauded as, “sonically, it’s nothing like anything I’ve heard before.”

Injury Reserve was originally a trio, consisting of rappers Ritchie With a T, Stepa J. Groggs and producer Parker Corey. Their mixtapes Live From The Dentist (released in 2015) and Floss (2016) earned them underground buzz, and they capitalised on the attention with their debut album in 2019, the eponymous Injury Reserve.

The group’s momentum was put on hold when in June of 2020 Groggs tragically passed away. By The Time I Get To Phoenix was largely completed ahead of Groggs’ passing with his contributions, and is the first Injury Reserve music to be released since their eponymous debut album. Ritchie and Corey took the past year to complete the record, and the title has meaning past simply referencing Injury Reserve’s hometown.

It’s a homage to a song that has been covered countless times, which is in line with Injury Reserve’s ethos and approach when it comes to creating music. The group pulls from several styles and eras of hip hop, but runs each one through the Injury Reserve lens, putting their own distinct and cohesive sound across their references. Nowhere is that dynamic more present than on By The Time I Get To Phoenix.

TRACKLIST
Outside
Superman That
SS San Francisco (feat. Zelooperz)
Footwork in a Forest Fire
Ground Zero
Smoke Don’t Clear
Top Picks For You
Wild Wild West
Postpostpartum
Knees
Bye Storm

Stay connected with Injury Reserve:
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Dooms Children has released the wistful new track “Heavy Year” and launched pre-orders for their upcoming, self-titled debut album, out October 20 on Dine Alone Records/Cooking Vinyl Australia. Dooms Children is the new psych-rock solo project from venerated post-hardcore artist Wade MacNeil (Alexisonfire, Gallows). 

Dooms Children finds MacNeil on a different artistic path both in style and content with an honest and sincere offering that shines light on recent life experiences and revelations. “This is the most personal music I have ever released,” says MacNeil. “Dooms Children is about falling out of love, about addiction and lying awake at night wondering if you’ve made all the wrong choices.”

“Heavy Year” is a thoughtful and reflective song addressing grief and regret following a harrowing period. The melodic track features MacNeil’s lyrical guitar playing and passionate vocals, both of which convey the weight of his message. MacNeil says of the track, “This song is about not running away from suffering. It’s about feeling it, living it, and moving past it.”   Dooms Children is arguably the purest distillation of MacNeil’s artistry and identity to date, and frames a rather tumultuous and ultimately transcendent few years of his life. With Dooms Children, MacNeil puts forth a revealing and courageous set of songs that chronicle his life at its most vulnerable point before taking control and reemerging wiser with a new outlook and perspective.

DOOMS CHILDREN – SELF-TITLED Out October 20 via Dine Alone / Cooking Vinyl Australia PRE-ORDER HERE

01. Trip With Me 02. Flower Moon 03. Psyche Hospital Blues 04. Skeleton Beach 05. Morningstar 06. Lotus Eater 07. Heavy Year 08. Chinatown Glow 09. Spring Equinox 10. Friend Of The Devil 11. Stardust Lullaby

ABOUT WADE MACNEIL Since co-founding pioneering post-hardcore outfit Alexisonfire in the early 2000s, MacNeil has released four hugely successful studio albums, all Music Canada Platinum-certified: Alexisonfire (2002), Watch Out (2004), Crisis (2006), and Old Crows / Young Cardinals (2009). Crisis debuted at #1 on the Top 200 Soundscan (Canada), and Old Crows / Young Cardinals debuted at #2, and charted at #9 on the US Billboard Independent Album chart. Watch Out helped garner a New Group of the Year JUNO (2004). The band has topped charts and graced notable music magazine covers internationally. The Canadian singer, guitarist, songwriter, and composer has also lent his talents to numerous influential and impactful projects. He founded gritty punk outfit Black Lungs, fronts U.K. hardcore heroes Gallows, put fingerprints on recordings by the likes of Anti-Flag, Cancer Bats, and Bedouin Soundclash, and scored a handful of successful feature films and video games. In 2017, Wade composed music for Jay Baruchel’s comedy Goon: Last of the Enforcers, and also scored Baruchel’s 2020 horror film Random Acts Of Violence.

Dooms Children @doomschildren @doomschildren

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SUPPORT FOR PREVIOUS SINGLE ‘LUMINARY’

“The Washing Line Economy’s ‘one to watch’ status proved to be correct.”
Pilerats (AUS)

“This is an apt one for The Washing Line Economy crew because it’s breezy and sunny conditions all round. Load up!” – 4/5 stars
Declan Byrne – triple j (AUS)

“After dishing up a glowing set of songs on 2020’s debut album, The Washing Line Economy have hit – nay! walloped – their straps with this newie. It’s like a warm little pocket of indie-psych sunshine and it feels very them.” – 4/5 stars
Dave Ruby Howe – triple j Unearthed (AUS)

Premiered on triple j Unearthed’s TOPS program

Following the warmly-received release of ‘Luminary’, Perth-based indie-pop quartet The Washing Line Economy have just revealed their magnetic new single ‘Mirrors’ – produced and mixed by Nick Ireland (Spacey Jane, Dulcie, Butter).

‘Mirrors’ begins with visceral guitar and slapback vocals that combine effortlessly in a crisp mix, complimented by graceful drums and ethereal instrumentation. A polyphonic chorus highlights the band’s elegant chemistry, as reverb-laden melodies ascend amidst gentle textures of musical intricacies. Experimental motifs and meticulous dynamics accentuate the track’s iridescence, as the lyrical themes delve into sombre subject matters.

“’Mirrors’ deals with philosophy and wearing your metaphorical mirror to fit into society,” explains the band. “It also deals with doubting the continuation of capitalist society as the climate crisis reaches fever pitch and infinitely increasing GDP seems like nothing but a fantasy.”

Alongside the track is the picturesque accompanying video – shot by Jake Crawford (Psychedelic Porn Crumpets, Great Gable, Death By Denim). Filmed in the Perth Hills, the clip consists of the band members performing the song in an outback aesthetic, lightly edited with cunning placements of mirrors in each shot. Featuring laidback exposures and inventive reflection trickery, the video clip is a direct yet buoyant nod to the title.

“Filming the video was quite a task but well worth it!” continues the band. “We grossly underestimated the distance of the hike to the quarry, so we ended up walking around 10km with music gear, mirrors and filming gear in hand!”

‘Mirrors’ is the second single taken from the band’s upcoming six-track concept EP ‘Charles Bonnet’, due for release on Friday, October 22. To celebrate the forthcoming release, they will be playing a release day EP launch at Badlands Bar in Perth.

Previous single ‘Luminary’ was heavily praised by the likes of Pilerats, AAA Backstage, IGGY Magazine (FRA), The Australian Music Scene, Unheard and Niche Music (JPN). It also received radio support from triple j, triple j Unearthed, Radio Adelaide, RTR FM, 2SER, 4ZZZ, 2RRR, SYN FM, Central Coast Radio and Radio Fremantle.

‘Mirrors’ is available worldwide now

THE WASHING LINE ECONOMY
‘CHARLES BONNET’ EP LAUNCH

FRI 22 OCT | BADLANDS BAR, PERTH WA

FOLLOW THE WASHING LINE ECONOMY

FACEBOOK | INSTAGRAM | SPOTIFY | APPLE MUSIC | WEBSITE

SUPPORT FOR SINGLES OFF DEBUT ALBUM

“Showcasing Majak Door’s brilliance in breathing new life into an old favourite sound.”
Pilerats (AUS)

“Songs like this always just jangle straight into my heart. If I had to have one guitar tone/ pedal/mood for the rest of my life, this sorta zone would be it.” – 4/5 stars
Declan Byrne – triple j (AUS)

‘Will She Leave You’ added to Spotify playlist ‘Indie Arrivals’

‘Will She Leave You’ premiered on triple j Unearthed’s TOPS program

‘Smoke In The Air’ added to rotation on SYN FM

‘My Nostalgia’ added to MTV Upload

Melbourne-based surf-rock group Majak Door have just unveiled their compelling debut self-titled album – produced by Daniel Caswell (Dune Rats, Bad//Dreems, The Living End) and the band themselves.

The album consists of twelve enthralling tracks of resounding, dreamy indie music that floats and sparkles with intricate competencies that accentuate the elements that have come to define Majak Door’s distinctive sound.

“The album as a whole touches on many different areas,” the band comments on the themes of ‘Majak Door’. “Nostalgia, friendship, politics, and anything else that crosses the mind of a 20-something-year-old.”

Opening track ‘Champagne Brown’ sets the tone with a natural atmosphere of percussion and absorbing bass amidst a floating layer of reverberated guitars. The succulent serenity accentuated by the subtle vocals and liquescent structure flows into the familiar second track ‘L’acqua Salata (Ain’t So Sweet)‘, where shimmering instrumentation and an alteration of dynamism further spotlight the group’s diversity. The third track, ‘Will She Leave You’, heightens a graceful journey full of gliding guitars and balmy drums, while the commanding vocals of lead singer Frankie Vakalis interweave with the track’s virulent environment.

Fourth track, ‘One Thing At A Time’, begins with elegant chorus-laden leads and a calming rhythm section, while charming vocals comfortably advance the song towards its tranquil hook. The infectious energy continues with fifth track, ‘The Man’, where a walking bassline and graceful harmonies underline a playful and buoyant setting before being brought down by the serene sixth track, ‘King Tide’, where the gorgeous landscape is given further depth by the lusciously strolling arrangement of this dreamy offering.

The seventh track, ‘Everybody Wants You’, is an upbeat cacophony of resonating surf-rock and Brit-pop, overflowing with rich layers of guitars and steady drums. At the same time, harmonious vocals swell and flow amidst the fusion. Track eight and recent offering ‘Smoke In The Air’ introduces imposing synths as the tempo drops to a stoical pace, brimming with all the iridescent elements of prodigious indie music, before transitioning into ninth track ‘Headspin‘, where an entrancing texture prowls and intensifies the kaleidoscopic ambience, as dynamics rise and fall to showcase the band’s alluring chemistry.

Tenth track, ‘They Know We Know’, returns with the Western feel that engulfs the record, as multiple scintillating clean guitars intertwine as the spellbinding structure glides on into the penultimate track, ‘My Nostalgia’, a melancholy and vulnerable number produced with utmost delicacy. The final track, ‘How Do You Feel’, closes out the album with assertive drums and compositional complexities, summarising an extensive body of work from a group that has skillfully shown their capabilities and proficiency.

Previous single ‘Smoke In The Air’ was widely embraced by the likes of triple j Unearthed, 4ZZZ, SYN FM and RTR FM, and received online support from The Music, Niche Music (JPN), IGGY Magazine (FRA), AAA Backstage and Milky. Throughout their career, they’ve been extensively praised by Spotify, triple j, FBi Radio, Radio Adelaide, 2XX FM, Pilerats, Milky, The Australian Music Scene, Deafen County, Something You Said, Backseat Mafia Downunder, The Soundcheck and Like Velvet.

Since their inception, the band have consistently traversed the East Coast of Australia, packing out shows across Sydney, Wollongong, Newcastle and Melbourne, as well as supporting local contemporaries Planet, The Grogans, Seaside and Merpire.

‘Majak Door’ is available worldwide now

Album Track Listing:

1. Champagne Brown
2. L’acqua Salata (Ain’t So Sweet)
3. Will She Leave You
4. One Thing At A Time
5. The Man
6. King Tide
7. Everybody Wants You
8. Smoke In The Air
9. Headspin
10. They Know We Know
11. My Nostalgia
12. How Do You Feel

FOLLOW MAJAK DOOR

Mane has been evolving and expanding his relationship with music for quite some time – and with his new tunes, he further delves into his craft, cultivating songs from an intensely personal space. “Travel has been a big inspiration to me. Places and people I love tend to creep into my tunes,” he explains, “it’s like life filters through the songs and I digest it that way.

Certain songs have such strong memories attached that each time I play them I’m transported to a certain time and place.” He has worked to distill those emotions that are experienced across generations, and he sheds light on the experiences and stories that have the ability to be profoundly moving and channeled those feelings into an expansive collection of songs for the record.