What is your name and role within Spillage?
Tony de Pasquale and I’m the bass player
Where are you currently based?
Essentially Brisbane but Sam lives on the Goldie and Nathan on the Sunshine Coast. David’s in Brissie too.
What’s been happening recently?
Just finished recording the new album. It’s getting mixed now. We had a single launch (You Said No) a few weeks ago at the Greaser that went really well. We’ve got our 2nd single launch (Unawares) at King Lear’s Throne on the 14th of August.
How did the reunion after two decades of not playing together come about?
Asho (from Footstomp) suggested it to Sam one night and he asked all of us and we all jumped at it. There’s nothing like being in a practice room making noise with your mates.
Please tell us a little about your history as a band:
Well…..in a galaxy far far away………it feels like that sometimes.
We were a 3 piece back in the 90s. Sam and I are brothers so we grew up playing music a lot. (My first instrument was an accordion when I was 5!) Played a lot of gigs with a lot of different bands. The main venues back in Brisbane were The Zoo and The Orient, the Roxie, The Funkyard and Metropilis. We played pretty much every other week for a few years. We put an album out in 94 and it sold about 14 copies. We were big in Ballscratch, South Australia.
Your live shows are as tight as ever, was the chemistry right where you left off?
We were a bit rusty at first but it came together pretty quickly. It helps that we’re not super stoned all the time like the old days.
We asked Gorky (David Gaukrodger) to join. We always wanted to be a 4 piece with the extra guitar. We’d known each other for years and he fit right in.
Your single ‘Unawares’ is out now, what influenced the sound and songwriting?
I think you’d have to say the influence for the sound came from one of our fave bands of the ages: Husker Du. The lyrics are about living in a drug fuelled fog and wondering why your life is such a shit sandwich. Then turning it around and really seeing that the world can be a beautiful place.
How did you go about writing the track?
Sam came in with the song and we all added our little sparkles. It just seemed to get better and better and when we recorded it, it really jumped out. It goes off when when we play live as well.
Where and when did you record/produce/master?
We recorded with Jeff Lovejoy at Blackbox Studios and the mastering was done by Matt Gray at Matthew Gray Mastering
What can we expect from your upcoming album to be released in October?
A mixture of songs. Although our roots are rock/punk/grunge there’s a few different sounds emerging. A few of the tracks are from the old days but the majority are all this century.
How did the new grunge sound come about?
Similar to the old grunge but new and improved!! I think as you get a bit older and you listen to a whole lot of different music, your taste widens and you can draw from a wider sound palette. Our roots are still guitar based rock but we like to throw a few spanners in the works to make it exciting.
Who are you listening to at the moment?
I can’t speak for the other boys but 2 bands I’m into at the moment are Badflower and Cleopatrick.
What do you like to do away from music?
I like to spend time with the fam. I’m a Dad so there’s always sport with the kids on the weekend. I coach my daughter’s Netball team and my son’s cricket team. I like to get out and see local bands and comedy when I can.
What’s planned for the remainder of 2021?
We’ll finish mixing the album, get that released and hopefully get a little tour going (Covid permitting).
Plus we’ve already got a bunch of songs for the 2nd album so we’ll keep working on them.
Favourite food and place to hangout?
Being Italian I’m a big pizza fan. But a close 2nd is Vietnamese food. Fave hangout would have to be the praccy room with the crew. As far as clubs/bars go – Greaser Bar and the Jolly Roger in the Valley. Plus Blutes on a Sun arve.
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https://www.facebook.com/spillagepeople/
https://www.instagram.com/spillage_people/
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Toronto, ON – Dusted, the solo project helmed by singer/songwriter Brian Borcherdt (Holy Fuck, LIDS), will release its third album, appropriately titled Dusted III on July 23 via AWAL. The 11- track collection of minimal, acoustic-based gems took shape after Borcherdt discovered some unused demos on an old hard drive and felt drawn back into a creative mindset he hadn’t felt for many years.
After seeking some trusted advice on what approach to take with the material, Borcherdt chose to revisit the unadorned style of the first Dusted album, 2012’s Total Dust, and laid down the tracks for Dusted III over the course of three days at Toronto’s Palace Sound with engineer Chris Sandes. The results are often haunting, but not so much a reflection of the past year of pandemic lockdown as a reflection of where Borcherdt finds himself at this point in his life living back in his native Nova Scotia with his wife Anna Edwards and their daughter.
“As I listen to the finished album now I’m struck by how much of it is about letting go,” he says. “Not all the songs came from lost demos. The newest song, ‘Not Offering,’ opens the album perfectly: ‘I have given up. I have given enough.’ It was in my head a lot as I was driving the rented moving truck back and forth from Toronto to Nova Scotia. It was all the lost friendships, the letdowns, the things that turned sour. It felt suddenly more relevant as I was moving our worldly possessions on those twenty-four hour drives, only taking breaks to sleep hunched over a cooler with my dog next to me. Letting go is a hard thing to do. I should say instead that this record is really about learning what to hold on to.”
Brian Borcherdt has appeared in many musical guises since first establishing himself within the Halifax scene of the mid-1990s as frontperson for the metal band Burnt Black. A move to Toronto followed in the early 2000s, leading Borcherdt to join By Divine Right for four-year stint while simultaneously creating his solo project, The Remains Of Brian Borcherdt, and forming the internationally successful, Polaris Prize-shortlisted electro-experimental band Holy Fuck, whose most recent album Deleter was released at the beginning of 2020.
Dusted has served as a vehicle for more traditional songwriting for Borcherdt, although the sound still retains many of the experimental elements he’s become known for. Dusted III is a further stage in his musical evolution, offering a meditation on change and rebirth that all of us can relate to at this moment.
“The song’s lyrics which passionately drive this statement are complemented by Borcherdt’s smooth, dulcet vocals along with subtle synths and folk acoustic guitars that help convey an ora of sadness. Borcherdt wants to reflect on his past, but as he proceeds to do so Borcherdt is bothered by a plethora of dark imagery.” – Mxdwn (USA)
“The new collection of songs from Borchedt builds on his spacious odd-folk songs under the moniker and sees him continue to interpolate electronic drums and synths on top of his ghostly vocals, creating a foggy world that succinctly evokes his return to Canada’s east coast; the birthplace of Borcherdt and his decades-long musical career.” – Circuit Sweet (UK)
“Switching from his electronic sound , his new single “Little More Time” is a pensive folk rock song about moving into a new phase of life by leaving behind your “Party-Saurus Rex”.” – Dusty Organ (Canada)
“The song itself is a tribute. The lyrics are a eulogy. The video follows the duo on their last days together as they get drunk and watch an asteroid approaching.” – The Tinnitist (Canada)
DUSTED – Dusted III
1. Not Offering
2. Baseball
3. Cedar Tree
4. They Don’t Know You
5. Little More Time
6. Mountain Top
7. Bide My Time
8. Wash My Hands Away
9. Erik
10. Recovery Cone
11. Clouds
12. Palmer
Twitter: @totallyDusted
Facebook: @totallyDusted
Instagram: @dusted_brianborcherdt
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“It’s its own person, its own concept and character,” ROYBOY reveal, “with its own set of morals and we’re literally in the backseat,” allowing the creation to simply channel through them, as on ‘Bread‘, ‘Calamari‘ and ‘oursound‘. Now as their latest single ‘Busy‘ enters the fold, ROYBOY manifest themselves again to usher in the collective’s next chapter. Of the release, they share “We made Busy as a club anthem for the homebody. Sometimes the thought of going out with a bunch of half-friends doesn’t come close to locking down, making music, filling up your own bucket with ice and drinks, and being alone – and that’s what we’re celebrating in this song. The irony of the EDM soundscape contrasted by lyrics of being solitary is what we wanted to be at the forefront of the song, expressing the desire to “worship my sub speaker” and pleading “not to hit up my phone with any of your weekend demands.”
Whether online or in the studio, the process of ROYBOY is strictly internal and revolves around the chemistry and camaraderie pulsing through the collective, a fertile breeding ground of ideas and trust that decentres the individual self in service of collective vision. ‘Busy’ is sharp and vivacious, with a beat as commanding as it is addictive, fusing together the adjacent pop worlds of Billie Eilish with ZHU – as igniting on the bars as they are on the instrumentation. ROYBOY‘s sound is defined by the tone of their processed, effects-lathered vocals, an omnivorous melange of pitches and timbres that never seems to sit still, moving from shadowy murmurs to razor-sharp precision to boisterous frenzy and back again. ‘Busy‘s release brings ROYBOY into focus, as the collective usher in their position amongst the next legion of Australia’s trailblazing electronic producers. Stay tuned.
‘Busy‘ is out now, buy/stream it here.
Stay connected with ROYBOY:
Instagram | YouTube | Soundcloud
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RISE AGAINST
SHARE NEW ACOUSTIC VERSION OF THEIR ROCK HIT
NOWHERE GENERATION, FEATURING VOCALS BY MEG MYERS
WATCH THE VIDEO
TITLE TRACK OF THEIR NEW ALBUM OUT NOW VIA LOMA VISTA RECORDINGS
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The song—a stripped back take of the punchy original is the title track of Rise Against’s latest album, which debuted #4 on the Australian ARIA Album Chart, at the top of multiple Billboard charts with its first week sales (#1 on Rock, #3 on Top Current Albums, #3 on Vinyl, and the Top 40 of the Top 200). “When we released the acoustic version of ‘Nowhere Generation,’ we found that it really connected with a lot of people,” says Tim McIlrath of Rise Against. “We heard from a lot of unique and beautiful voices, and we knew that we needed to add another beautiful, unique voice to this song. Meg was the perfect choice and we are thrilled with how it all turned out.”
“When Rise Against asked me to sing on Nowhere Generation, I felt an instant connection to the song. There is a power and a purity about this song that is so healing and unifying,” explains Myers. “It’s the voice of a younger generation who feels unheard. I feel it is so important right now for our consciousness evolution, and for society to take a look around and ask ourselves, ‘who are we, what are we doing here, where are we going and why?’”
Rise Against will head out on a month-long U.S. tour next week in support of Nowhere Generation, joined by Descendents and The Menzingers, and beginning with a string of sold out shows in Cleveland, New York, and Asbury Park. A current itinerary is below.
On their new album, released June 4 via Loma Vista Recordings, the multi-Gold and Platinum band draws a line in the sand with its blazing and aggressive punk rock and lyrics that shine a spotlight on the social and economical deck that has been stacked against our younger generations’ pursuit of The American Dream. Nowhere Generation has been earning the band great press from outlets including Revolver, Consequence, Brooklyn Vegan, Grammy.com, American Songwriter, The Line of Best Fit, Clash, Kerrang!, and All Music, while June 4th was declared “Rise Against Day In Chicago,” the band’s original hometown. Last week, Rise Against also announced the Nowhere Generation graphic novel, which sees the band teaming up with writer Shaun Simon (True Lives of the Fabulous Killjoys, Electric Century) and artists Sally Cantirino, Val Halvorson, Huseyin Ozkan, Soo Lee, and more to be announced, due out this October via Z2 Comics.
Meg Myers‘ latest releases – 2020’s acclaimed Thank U 4 Taking Me 2 The Disco and I’d Like 2 Go Home Now EPs – represented the LA rocker’s first new music since the blockbuster success of her chart-topping cover of Kate Bush’s 1985 classic, Running Up That Hill. Originally performed in an NPR Tiny Desk Concert, the track made history earlier this year by ascending to #1 on Billboard’s “Alternative Songs” airplay chart 42 weeks after its official March 2019 release – the longest trip to the top in the chart’s three-decade history. What’s more, “Running Up That Hill” also reached #1 on Billboard’s “Rock Airplay” chart in its 29th week, tying for the third-longest climb to the peak position in that tally’s own 10-year history. “Running Up That Hill” is joined by an official animated video, created in partnership with the L.A.-based non-profit, Heart of Los Angeles (HOLA), and now has close to 7M individual views at Myers’ official YouTube channel. Myers is currently writing her next record.
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Stream ‘So Much Love’ (Soda State Remix) Here
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DESCENDENTS
9TH & WALNUT
FEATURING ORIGINAL
MILO GOES TO COLLEGE LINE-UP
OUT NOW!
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When Bartolomeo Cristofori invented the piano in the 1700s, he had no idea how many different shapes and styles it would take some centuries later. The piano went through classical era inventor John Broadwood, a romantic era in France (of course), and the modern era in which Steinway & Sons, Baldwin, and others contributed to the different styles of piano. Anyone that is musically inclined should understand the different types.
Upright Pianos
As the name indicates, it is a vertical design. The difference between a grand and an upright piano lies in the way the strings, piano action dampers, and soundboard run upright. This allows it to fit anywhere, including small rehearsal studios, as they don’t take up any more space than a couch. It is very common to see youngsters practice on upright designs.
Spinet
The spinet is a different style from an upright. Imagine a smaller version of upright, there you go, that’s a spinet! The difference mainly lies in the size rather than structure. It is usually just three feet tall, and they are considered to be the smallest type out there.
Console
In terms of size, a console stands at forty to forty-four inches tall. This means the console lies between a spinet and an upright piano. But they are much more compact than the upright models. Also, they are much more affordable than the spinet, and they are the most popular among the upright designs.
Studio
These are yet another type of the upright genre. Their size is around 44” to 47”. They are commonly found in schools and churches, as they are considered to have the best compromise between size and tone.
Grand Pianos
Owning a genuine grand piano is a privilege, as these are very expensive. They are considered a luxury, and many people like to keep luxury pianos in their homes. Some like them with customization with precious materials as found with a Malachite grand piano, with malachite-veneered and gilt metal mounted piano would look amazing albeit expensive. The Grand models have horizontally placed strings, and they feature a higher ability for note repetitions and the addition of subtle expressions to notes. This is the reason they are considered a great choice for solos and concerts. It is the go-to choice for most professional pianists because of its powerful tone and responsive key action. Here are the styles a grand may be available in:
Petite Grand
The size lies between 4’6 to 5’. It is the smallest of the grand models, and you’ll find that any grand piano less than five feet is considered to be a petite grand.
Baby Grand
The Baby grand ranges in length from 5 to 5’6 ft. It is designed to produce more sound in a small space. If it is remarkably long, it may be called medium grand or parlor grand. It is the best choice if there is limited room in the house or the space that you’re considering.
Medium Grand
A medium grand is between 5’6 to 6’6 in length. Somehow, they are a little difficult to purchase, as they are usually not readily available nowadays
Parlor Grand/Classic
The name comes from the fact that in the past, they were used most often in the parlors. These are between 5’6 to 6’1 in length, and they are suitable for large rooms in a home, a recital hall, or moderate rehearsal spaces.
Semi-concert /Ballroom/Professional
It is approximately 6’5 to 7’5 feet in length.
Concert Grand
This type of piano is the full-size version of the style baby grand, but it comes with longer strings, a more resonant sound, and a comparatively larger soundboard. Grand pianos are seen as a part of a symphony orchestra, especially when a soloist is performing a piano concerto. Large recording studios have these as official studio pianos.
Electric
An electric or a digital piano produces the sound electronically without the vibrating strings. These models also referred to as synthesizers, can create orchestral sounds through computing languages. They first became popular with jazz musicians, because, with these, the pianists could duplicate the solo breaks of a guitarist along with the cording. Most of the traveling bands prefer these as they can be carried on the road easily.
If you’re a musically inclined person, now you have a better understanding of the types and styles of pianos out there. Whether you need one for your home, school, or a concert hall or if you’re a part of a band, looking at the types that have been mentioned here, it is now easier to decide based on the size and the style you require. So, go ahead and get that piano!
Previous support for Cedarsmoke
“It’s a pained brand from Cedarsmoke that pulls you into its world.”
(Declan Byrne, Triple J)
“There are some songs that just sound like they’d be evergreen pub favourites.”
(Gemma Pike, Triple J)
“They’re a band that put storytelling at the forefront”
(theMusic)
“It’s a glorious pastiche of popular culture references.”
(AU Review)
“A gorgeous slice of sunny indie pop that mashes together a brash, rocky riff that gives the track an appealing one-two punch”
(Scenestr)
“It’s the power to generate such vivid landscapes of longing, loss, frustration and doubt that makes Cedarsmoke one of the most relatable bands going.” (Hysteria Mag)
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Where are you currently based?
A) The village of Canning, Nova Scotia in Canada.
How did you first start playing music?
A) 12 years old, acoustic guitar, learning Beatles tunes.
What’s been happening recently?
A) Parenting, pacing, hovering, drinking, stewing, and whining.
Your new album Dusted III is out on the 23rd of July, what influenced the sound and songwriting?
A) I wanted to capture a handful of songs, to sort of cleanse them from my busy mind. I wanted them to be recorded simply, naturally, the way I play them at home. The songs and lyrics come from a ten year period of my life, but the final selection seems to have an overarching feeling. It went well with all the transitions in my life- moving, returning to the province of my youth, saying goodbye, and embracing something new.
How did you go about writing Dusted III?
A) I write all the time, so this selection was more to do with curating a digestible handful of songs. I didn’t overthink which ones I picked. I still have a few more records like this that I hope to finish. This is a step towards that goal.
What does the album mean to you?
A) Leaving things behind, and stepping towards the unknown.
Where and when did you record/produce/master and who with?
A) I booked Palace, a studio in Toronto, ON, the first few days of March 2019 and recorded everything there, live-off-the-floor, engineered by Chris Sandes. It was mostly vocal guitar, but also bass and wurlitzer. I then brought the album with me to Nova Scotia where I finished it in a makeshift home studio. A final drum and horn session was booked again in Palace when my other band Holy Fuck went to Toronto to do a CBC session. That was just before the pandemic began. I sat with it for a few months doing nothing, just settling into a weird time. And then I got cracking on the mixes. I sent them around to a few people, but luckily found a guy named Shuta Shinoda to do the final mixes. I have one song mixed by Dave Newfeld and one by Jarvis Taveniere.
How did you approach the recording process?
A) We set up many mics, more than we’d need, but that allowed me to go through and select the few that I liked for the mood and tone, depending on the song. I like field recordings, demos, very natural and unadorned recordings, so I just followed that instinct. The benefit to finishing this in a peaceful environment in Nova Scotia, Canada, was that I got to capture the sounds around me to give the album a sense of space and time – birds, rain etc.
Who are you listening to at the moment?
A) I had a DJ gig last week where I played a lot of my old disco and breakdance/ hip hop records. Last night I played a board game with my folks listening to Black Sabbath. The usual I guess.
What do you like to do away from music?
A) Escape to nature!
What’s planned for 2021?
A) Get this record out and hopefully play shows! I have another thing, a four piece called Quilting, that is hopefully releasing something, definitely playing shows in the fall, and maybe some Holy Fuck thing.
Favourite food and place to hangout?
A) I haven’t really lucked out with that here. I miss traveling. The Valley in Nova Scotia, where I live, is known for vineyards, but the dining scene is geared for students and tourists, but has shit-hours. Nothing is open late, so I mostly put on my headphones and walk around my backyard in the evenings when my daughter finally sleeps.
Twitter: @totallyDusted
Facebook: @totallyDusted
Instagram: @dusted_brianborcherdt
You can listen to “dreadful sorry clemency” on Bandcamp – Apple Music – Spotify – SoundCloud
Jennie is currently in the studio putting the finishing touches on her debut E.P slated for release in the Winter.
LISTEN/PLAY
Title: The Portrait (Ooh La La)
Label: CYBERPVNK
R3HAB and Gabry Ponte join forces to bring us “The Portrait” on R3HAB‘s CYB3RPVNK label, a unique and groovy track that paints a detailed sonic image of a mysterious and beautiful woman. Opening with an ominous bassline and singsong vocals, the track uses descriptive lyrics and complementing topline along with instrumental elements to describe its subject. The “Oh la la la” of the course continues the lullaby-esque quality, while the contrasting bassline becomes deeper and bouncier, layering in instrumental melodies for an additional point of interest. This unique track is the first time R3HAB and Gabry have teamed up; read on to hear from both artists about the making of “The Portrait“
“Gabry has always been a leader in the dance space, and it’s been a pleasure creating ‘The Portrait‘ with him. This song took a while to get just right, but it was worth the time it took us to capture the confidence, mystery, and swagger of the song’s subject. I hope you see a bit of yourself in this audio “portrait” we painted. I can’t wait to play this at my upcoming festivals.” – R3HAB
“When I first heard the idea of the song I fell in love with it, and I thought it would be the perfect match for me and R3HAB to collaborate. Working with him on the production was very challenging and inspiring. He has such a great vision!” – Gabry Ponte
Dutch–Moroccan Multi-Platinum DJ and producer Fadil El Ghoul, better known as R3HAB, has been trailblazing his way through dance music for the better part of the last decade. From his breakthrough remixes for Rihanna, Drake, Taylor Swift, Calvin Harris, The Chainsmokers, Lady Gaga, to anthems such as Gold– and Platinum-certified “All Around The World (La La La)” and “Lullaby,” to his collaborations with the likes of Luis Fonsi, Sean Paul, ZAYN, Andy Grammer, Sofia Carson, Smokepurpp, Dimitri Vegas & Like Mike, Astrid S, Olivia Holt and more, R3HAB has proven to be one of the most talented and forward-thinking artists in the game, whose work collected over 5B streams to date. In 2016 R3HAB founded his label CYB3RPVNK, which has passed 2B streams across all platforms since its inception. R3HAB himself continues to evolve and diversify his sound by working with a variety of artists around the globe, pushing the boundaries of dance music as he collaborates across genres and languages. In 2020 alone R3HAB celebrated over 900M Spotify streams. He is currently the most discovered artist on Spotify, one of Spotify’s top 150 most streamed artists across all genres worldwide, and ranked #13 on prestigious DJ Mag’s Top 100 DJs chart. With his combination of innate artistry and innovative attitude, in 2021 R3HAB is continuing his journey among electronic music’s elite.
It’s been quite the ride so far for Gabry Ponte. Producing an international hit single by the end of the ’90s with his band Eiffel 65, the song “Blue (Da Ba Dee)” turned into a dance classic that’s still played to this day. In the meantime, the Italian DJ/producer kept releasing solo material, always in rhythm with the newest sounds in electronic music. In 2019 he dropped another worldwide smash with his LUM!X collab “Monster,” followed last year by two more hit collabs with LUM!X in the shape of “The Passenger” (along with D.T.E.) and “Scare Me” (along with KSHMR), plus teamups with Timmy Trumpet (co-producing the title track for Timmy‘s “Mad World” album) and Galwaro and LIZOT (co-producing the popular cover of “Like A Prayer“). His latest release “Thunder” (with LUM!X and Prezioso) has been topping the charts all over Europe and already has over 13M streams on Spotify in 2 months.
Title: Hybrid Techno EP
Label: Self-release
PLAY/LISTEN
If you’ve been missing late night clubbing vibes a’la Ibiza, look no further than California-based artist Sevenn‘s new EP. Appropriately titled “Hybrid Techno,” the EP features four brand new tracks that cross the spectrum of house and techno, transporting the listener to the infamous White Isle. The EP opens with the dark progressive gem “Naked in the Rain.” Next up is “Alexander” with its arabesque instrumental elements and deep, mysterious vibes; just hearing the frog intonations will have you imagining you’re navigating a dark path to a clandestine jungle party. Sevenn turns the page with “Kanima,” a groovy and afro-house influenced track that sets a lively tone for the rest of the sonic journey, before driving it home with the dancefloor-filler house track “Paris to Berlin.” Read on below to learn more about Sevenn‘s inspiration behind the EP.
“I fell in love with techno in 2017 after spending around 6 days straight clubbing in Ibiza at clubs like Amnesia, Pacha and DC10, which changed my life. To me, it felt like what it must have been like for teenagers in the 60s to hear Jimi Hendrix for the first time, just completely revolutionary. So sonically authentic, vibrant, dramatic, dark… Each night felt like wandering into a dark forest you knew you shouldn’t be in but felt like you had to explore. I wanted to bring all those elements from melodic techno, afro house, deep house, and techno into a fresh new package, with powerful sounds, sometimes slightly detuned and twisted to play with more organic synthesis. Using the word “Hybrid” gives me (and other producers) room to explore this incredible genre and bring a new and charming sound to the dance floors.” – Sevenn
Kevin Brauer has exploded into the international electronic music stage as Sevenn. In his repertory he has four global hits: “Colors Of The Rainbow” produced in collaboration with Kathy, and successful releases such as “BYOB” and “The Wall,” produced with Alok, which reached over 50 million streams. Sevenn‘s massive collaboration with Tïesto “BOOM” debuted on Ultra Music Festival Miami in 2017. The single’s 2018’s version with Gucci Mane on the vocals had peaked #14 on Billboard‘s Hot Dance/Electronic charts amassing over 120 million streams on Spotify. Sevenn played at some of the world’s most celebrated festivals, such as Tomorrowland, Lollapalooza, and Creamfields.