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Music News

Playlist September 2020

by the partae September 26, 2020
written by the partae

Dylan Josua – can’t stay

Dylan Joshua has returned with his newest offering ‘can’t stay’. Not one to be penned into strict genres of hip-hop or RnB, Dylan’s art could be defined at V&B – vibes and blues. The track creates the perfect balance of cool and dreamy vibes that maintains a spellbinding stream of consciousness that is effortlessly and melodically performed. With a weightless air and consistent flow that catches the attention, ‘can’t stay’ takes a look at the deep feelings within a relationship and his honest lyrics face up to the unfavourable parts of love and emotion. As the narrative evolves, Dylan paints a vivid picture in the mind of the listener that provides for a lyrical journey, led by pulsing beats and his stylised, distorted vocals. 

Magazines – Happy Alone

Magazines have built a reputation as the new indie darlings of the Irish music scene. The band dropped some debut releases last year and quickly garnered attention on the Dublin live music scene (before… well, you know). The group now return with new single ‘Happy Alone’, a fan favourite that is already being heralded as their best work to date.

Earl Gray Collective – This House

Earl Gray Collective’s new single ‘This House’ propels their artistry to a deeper and more musing level as the lyricism takes an introspective turn. The listener is taken on a story-like exploration of self understanding and realisation that is perfectly constructed as the track progresses. The fluidity of the instrumentals elegantly begin whilst emphatically building, defined by tender piano keys and rich, mellow guitar strums, coated in irresistable harmonic vocals. 

Kleopatra

Transporting electronic dark-pop to new heights, KLEOPATRA’s debut EP ‘Machina’ is a slick compilation of distorted yet silky vocals and psychedelic melodies. KLEOPATRA intriguingly blurs the lines between humanity and the digital, and compellingly highlights themes of dystopia throughout her craft. With a stand out offering, KLEOPATRA’s sound is strikingly powerful, and provides for an electrifying listen. Each song’s lyricism progressively tells the story of heartbreak and mental health, and also covers topics of abstract thought and metaphorical observation, taking a look at the superficial and mechanical constructions of society. This dark-pop singer-songwriter, producer and visual artist combines modern electronic production with fresh smooth vocals – an android with human consciousness.

Don Barclay – Breathe

Scottish sensation Don Barclay’s new single ‘Breathe’ encapsulates his effortless, raw talent. With twangy instrumentals, and warm vocals, the track breathes life into classic indie-folk. His acoustic sound and stripped back style is beautifully soulful, portraying his natural musical talent to the best of its ability. By carefully honing his smooth tone, Don experiments in ‘Breathe’ by adding a   hip-hop inspired drum within the chorus, showing Don’s fearless approach to his music and in turn making the track exceptionally mellifluous. Taking influence from artists such as James Gillespie, Adam French, Dermot Kennedy, Ben Howard and MILKK, Don has refined his heartwarming craft to form a sound that is both exquisite and dreamy.  

Random Weekend – By The Lake House

A fusion of contradicting yet complimentary sounds, ‘Fire by the Lakehouse’ is a production powerhouse formulation by Random Weekend. Harbouring ethereal synth, pounding beats and topped with a mixture of Breon S.Y.N.D.E.L and Pook Hustle’s distinct rap bars, the four tracks ebb and flow with energy, incorporating a plethora of alternative, intoxicating sounds that take a fresh spin on trap. Random Weekend’s genre-blending, vivid vision is projected through their exclusive sound, and their playful, adventurous nature makes for something surely unheard. 

DayDream Frenzy – Nowhere I’d Rather Be

Daydream Frenzy drop feel good alt-rock track ‘Nowhere I’d Rather Be’. With an echoey tone, spirited instrumentals and Don Barclay’s authentic vocal tone, the track is as uplifting as it is edgy. Taking influence from the likes of Twin Atlantic, Biffy Clyro, The Hunna, Catfish And The Bottlemen and Don Broco, Daydream Frenzy’s sound is perfectly nostalgic yet refreshingly progressive. The song’s honest lyricism, focuses on positive emotions and harbours a slight element of tongue-in-cheek, all reflecting on Don’s personal journey, making for something truly musing.

Breon S.Y.N.D.E.L – Lavender

Breon S.Y.N.D.E.L’s new single ‘Lavender’ is a playful take on lust and love, with catchy lyrics and a pulsing beat, the song’s storyline is told through Breon’s adept rap flow and charming confidence. ‘Lavender’s’ accompanying visuals encapsulate the essence of both the lyrics and the title, with dusky purple hues captured in the shots with Breon and his female lead, along with sharp camera cuts and wide shots of Breon in his hometown of New York. Embodying his personality perfectly, the single exemplifies Breon S.Y.N.D.E.L as a standout talent, with his brand of Hip-Hop being highly relatable and equally powerful.

Rosita – 3am

Flourishing with silky vocals and a smooth irresistible melody, Rosita’s new single ‘3AM’ is both entrancing and effortlessly cool. This rising star adds a fresh twist to soulful pop, portraying slick R&B vocals through her emotive melodies and lyricism. Her soul-baring tone is fluent and accurate, with a contrast of vibrancy and dynamism. Taking influence from the likes of Amy Winehouse, Lauryn Hill, and most recently Summer Walker and Jorja Smith, Rosita’s tone is elegantly refined, and her music takes a fresh approach to classic styles.

 

 

 

September 26, 2020 0 comments
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R3HAB & Nina Nesbitt Release Groovy House Collaboration "Family Values"
Music News

R3HAB & Nina Nesbitt Release Groovy House Collaboration ‘Family Values’

by the partae September 26, 2020
written by the partae

Artists: R3HAB & Nina Nesbitt
Title: Family Values
Label: CYB3RPVNK

Download / Stream

R3HAB teams up with indie-pop powerhouse Nina Nesbitt for his new single “Family Values,” a sultry house gem with a puckish title that doesn’t necessarily mean what the lyrics are about. The track delivers instrumental melodies that build up to a percussive drop with deep, bouncy basslines that fuse seamlessly with Nina‘s soulful vocals. “Family Values” sees R3HAB returning to a groovier sound, which invites listeners to the dance floor any time of day! It also follows his recent foray into the pop world with “love u again” with Olivia Holt and his remix of Jason Derulo‘s “Take You Dancing.” Check out what both R3HAB and Nina have to say about their exciting new collaboration below:

“I got to know Nina‘s voice when I remixed her ‘Somebody Special‘, and I’m happy we got to create ‘Family Values‘ together. Nina‘s writing style is clever and surprising, which makes working on songs exciting and fun. She’s got the best sense of humor and a fun outlook on the world, and I think our song captures that perfectly.” – R3HAB

“I’m so excited to collaborate with R3HAB for the second time after previously hearing him remix my song ‘Somebody Special.’ I wrote ‘Family Values‘ on a day off last festival season while sitting on a trampoline with a guitar, and it’s amazing to see where R3HAB has taken it and how it’s transformed since then.” – Nina Nesbitt

Dutch/Moroccan DJ and producer Fadi 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 hit remix of Afrojack, Pitbull and Ne-Yo‘s “Give Me Everything” to his dance anthems, such as “All Around The World (La La La)” and “Lullaby,” which have collectively amassed over 600M streams, to his collaborations with the likes of ZAYN, Andy Grammer, Sofia Carson, Timmy Trumpet and more, R3HAB has proven to be one of the most talented and forward-thinking artists in the game. He partnered with Spotify and GATTÜSO to create the first-ever official “mint” single release. In 2016 he founded his label CYB3RPVNK, which passed one billion streams on its catalog within the first two years since the inception. R3HAB himself continues to evolve and diversify his sound by working with a variety of artists around the globe, experimenting with everything from hip-hop to pop through his collaborations. With his combination of innate artistry and innovative attitude, R3HAB is only beginning his journey. Keep an eye out for what’s up to next!

More info on R3HAB / Nina Nesbitt / CYB3RPVNK:

R3HAB: Facebook | Instagram | Twitter | Spotify

Nina Nesbitt: Facebook | Instagram | Twitter | Spotify

CYB3RPVNK: Website | Youtube

 

September 26, 2020 0 comments
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Music News

Sydney artist Swimwear announces ambitious debut album Night Air – a concept album released in chapters, commencing with first single ‘Happyness’

by the partae September 25, 2020
written by the partae

“If its lead single is anything to go by, the conceptual entity that is Night Air is undoubtedly on track to become one of the most immersive and intriguing releases shared this year.”
– Tyler Jenke, Rolling Stone

Sydney bedroom producer Tim Derricourt (Dappled Cities) has been writing and releasing music under his solo muse, Swimwear since his debut EP of 2012. Featuring the head-turning single ‘Easy High’, The Kissing Machine catalysed the first of three Swimwear EPs with follow ups, Low Summer and High Summer building upon Derricourt’s distinct low-fi sound and instantaneous impact both at home and abroad. Four years on and Swimwear is thrilled to announce the imminent arrival of his debut long play Night Air, with the first instalment ‘Happyness’ out today.

Inspired by Richard Yates’ 1962 novel Revolutionary Road and its images of suburban isolation and burnt out love, Night Air is a concept album traversing the explosive start and disintegration of a relationship, capturing feelings of midnight isolation and a world beckoning beyond. Trickled out over four chapters, Night Air begins with the wobbly disco of first single ‘Happyness’. Chapter One introduces a more introspective side to Swimwear’s song-writing, with ‘Happyness’ replacing the gated snares and driving kick of earlier work, and opting for a more atmospheric style, drawing on influences like The Blue Nile, Majical Cloudz and Brian Eno. The result is an ambient, misty world that perfectly captures those late-night feelings of isolation and uncertainty but also the simple, individual joy of being alone, on the road, after midnight, with nowhere to go and no one expecting you back.

STREAM / EMBED CHAPTER ONE: ‘HAPPYNESS’ 
STREAM / EMBED CHAPTER ONE: ‘HAPPYNESS’ VIA BANDCAMP

“Happyness is both the first single and first chapter of my debut record Night Air, the origin point of a tale of burning love and love burnt out. The song is a story of a night out, in the warm summer air and the ground humming beneath his feet, when anything and everything is possible.” – Swimwear

Off the back of multiple festival appearances and sold out headline shows with his psychedelic art rock band, Dappled Cities, Swimwear began its life at the coveted SXSW festival. It was there Derricourt was struck by performers such as Washed Out and Toro Y Moi, creating immersive, psychedelic dance music and performing it with joyful abandon, on stage, on their own. Over the next while, he knocked out a bunch of tunes on the road, on a laptop, combining the homespun DIY aesthetic of songwriters like Dan Deacon and Panda Bear with his love of grand pop crooners David Bowie, The Style Council, Pet Shop Boys and Damon Albarn. Three EPs on and the fruits of his labour have finally gifted us with the debut Swimwear LP Night Air slated for release sometime in 2020. Stay tuned for the release date.

Night Air Chapter One: ‘Happyness’ is out now via Believe
Spotify / iTunes / Apple Music / Bandcamp

Night Air Credits:
Written, recorded and produced by Tim Derricourt
Recorded and Mixed by Luke Bertoz at Ice Cream Alley
Mastered by William Bowden
Released by Believe Digital

Swimwear Facebook Swimwear Facebook
Swimwear Instagram Swimwear Instagram
Swimwear YouTube Swimwear YouTube
Swimwear Bandcamp Swimwear Bandcamp
Swimwear Spotify Swimwear Spotify
Swimwear SoundCloud Swimwear SoundCloud
September 25, 2020 0 comments
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Building upon a wealth of musical influences and time spent developing and honing their artistry, Byron Bay trio The Buckleys present their debut album in Daydream. Released today (via Petrol Records/Universal Records/UMe), Daydream is the culmination of three young lives that have lived and breathed music, now striding out and embracing their own sonic identity. A fusion of Country, Pop, Americana and Indie, Daydream is a sun-kissed collection of music that embodies the personalities and spirit of the Buckley siblings - Sarah (20), Molly (17) and Lachlan (19).  Produced and engineered by multi Grammy Award winner Chad Carlson (Taylor Swift, Trisha Yearwood), Daydream has already produced four Top 10 Australian Country Airplay charting singles: ‘Daydream’ (#1), ‘I’m Comin’ For Ya (Love)’ (#3), ‘Money’ (#2) and ‘Breathe’ (#3). The success of these singles has been felt not just on Australian soil, but internationally too, with multiple playlist nods across Spotify, Apple Music, VEVO and Radio Disney Country in the USA. The warmth and richness within The Buckleys’ songwriting chops extends throughout the whole Daydream record too, fitting brilliantly within the resurgence of young Country music artists pushing their music further into the mainstream.  Harmonically strong, the Buckley siblings feed off each other’s creative energy, building upon warm guitars and timeless lyricism to produce a fresh sound. Daydream flits between moments of romantic nostalgia (‘Glad You Did’) and fun groove-driven hooks (‘Vibe’, ‘Feeling The Love’); dabbling in strong Country energies (‘Crazy Like You’, ‘Wild Honey’) and more contemporary Americana-flecked pop (‘Til You Can’t Go Back’, ‘Breathe’). Working with an impressive line-up of established country writers, including Emily Shackleton (Carly Peace), JT Harding (Blake Shelton, Keith Urban), Marty Dodson (Kenny Chesney) and Jennifer Hanson (Billy Currington), Daydream draws on the siblings’ tight family roots and their natural ability to write memorable melodies and hooks. PRAISE FOR THE BUCKLEYS “Every so often, something special comes along. Something so cool and authentic that the world has no choice but to sit up and take notice. The Buckleys are that special something.” American Songwriter “...infectious, feel-good hooks…” Guitar World “A blend of Country, Pop, Indie and Americana with a sprinkle of Fleetwood Mac…” The Honey Pop   Becoming a formidable force in the U.S. recently, The Buckleys have been establishing themselves as a young, dynamic act to watch. Their recent U.S. highlights have included a recent performance on The ACM Weekly (Academy of Country Music), as well as rotation adds to Radio Disney Country (‘I’m Comin’ For Ya (Love)’) and CMT Music USA (‘Breathe’).    Globally, The Buckleys have penetrated each continent with their groundbreaking virtual tour this year, achieving a ‘virtual reach’ of over 4.5 million. Their virtual world tour was developed in conjunction with Live Nation, band’s record label Petrol Records and US label, UMe.    Purveyors of what they call “Hippie Country”, a genre representing the infectious personality and spirited consciousness of the band maintains through these tough times, these three young artists have received widespread transcontinental praise in the media for their refreshingly exciting brand of rootsy pop. Daydream is out now! Official Website | Facebook | Instagram | Twitter | YouTube | TikTok | Merch Store
Music News

Byron Bay trio THE BUCKLEYS unveil debut album DAYDREAM

by the partae September 25, 2020
written by the partae

Building upon a wealth of musical influences and time spent developing and honing their artistry, Byron Bay trio The Buckleys present their debut album in Daydream. Released today (via Petrol Records/Universal Records/UMe), Daydream is the culmination of three young lives that have lived and breathed music, now striding out and embracing their own sonic identity.

A fusion of Country, Pop, Americana and Indie, Daydream is a sun-kissed collection of music that embodies the personalities and spirit of the Buckley siblings – Sarah (20), Molly (17) and Lachlan (19).

Produced and engineered by multi Grammy Award winner Chad Carlson (Taylor Swift, Trisha Yearwood), Daydream has already produced four Top 10 Australian Country Airplay charting singles: ‘Daydream’ (#1), ‘I’m Comin’ For Ya (Love)’ (#3), ‘Money’ (#2) and ‘Breathe’ (#3). The success of these singles has been felt not just on Australian soil, but internationally too, with multiple playlist nods across Spotify, Apple Music, VEVO and Radio Disney Country in the USA.

The warmth and richness within The Buckleys’ songwriting chops extends throughout the whole Daydream record too, fitting brilliantly within the resurgence of young Country music artists pushing their music further into the mainstream.

Harmonically strong, the Buckley siblings feed off each other’s creative energy, building upon warm guitars and timeless lyricism to produce a fresh sound. Daydream flits between moments of romantic nostalgia (‘Glad You Did’) and fun groove-driven hooks (‘Vibe’, ‘Feeling The Love’); dabbling in strong Country energies (‘Crazy Like You’, ‘Wild Honey’) and more contemporary Americana-flecked pop (‘Til You Can’t Go Back’, ‘Breathe’).

Working with an impressive line-up of established country writers, including Emily Shackleton (Carly Peace), JT Harding (Blake Shelton, Keith Urban), Marty Dodson (Kenny Chesney) and Jennifer Hanson (Billy Currington), Daydream draws on the siblings’ tight family roots and their natural ability to write memorable melodies and hooks.

PRAISE FOR THE BUCKLEYS
“Every so often, something special comes along. Something so cool and authentic that the world has no choice but to sit up and take notice. The Buckleys are that special something.”
American Songwriter
“…infectious, feel-good hooks…”
Guitar World
“A blend of Country, Pop, Indie and Americana with a sprinkle of Fleetwood Mac…”
The Honey Pop
Becoming a formidable force in the U.S. recently, The Buckleys have been establishing themselves as a young, dynamic act to watch. Their recent U.S. highlights have included a recent performance on The ACM Weekly (Academy of Country Music), as well as rotation adds to Radio Disney Country (‘I’m Comin’ For Ya (Love)’) and CMT Music USA (‘Breathe’).
Globally, The Buckleys have penetrated each continent with their groundbreaking virtual tour this year, achieving a ‘virtual reach’ of over 4.5 million. Their virtual world tour was developed in conjunction with Live Nation, band’s record label Petrol Records and US label, UMe.
Purveyors of what they call “Hippie Country”, a genre representing the infectious personality and spirited consciousness of the band maintains through these tough times, these three young artists have received widespread transcontinental praise in the media for their refreshingly exciting brand of rootsy pop.
Daydream is out now!
Official Website | Facebook | Instagram | Twitter | YouTube | TikTok | Merch Store
September 25, 2020 0 comments
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Between multidisciplinary artist and musician, Jay Jermyn, and musician, Julian Currie, Veople is an experiential sound and collaboration lingering in the space between tension and release through textural, house-orientated rhythms and electronic production. Since their resurgence this year, the duo have shared the auditory rave of 'Tilt' and the unrelenting post-rock cacophony of 'Maverick', both picking up acclaim from international tastemakers including EARMILK, Dummy Mag, Stoney Roads, Acid Stag, Mystic Sons, FBi Radio, triple j Unearthed and more. 'Empathy', Veople's latest body of work, changes course yet again, charting unfamiliar musical landscapes—showcasing the group's ability to hop across rock and electronic genres in an instant. 'Empathy' allows Veople to continue their trailblazing qualities into an unfathomably skilful and multi-layered cosmopolitan of post-rock and electronica. The group's digital slime appears even more dystopian through the use of a vocoder—processing their vocals into a piece of technology itself, burrowing Veople even further into the matrix. While 'Empathy' still holds true to the group's core mission, the addition of disco and pop elements through guitar and bass licks makes 'Empathy' their most accessible yet. Veople's ethos of blending the human and digital worlds together through music and technology comes to a crossroad on 'Empathy'. As Jay Jermyn (bass/synths/programming) explains: "There's this throbbing synth bass underlying the whole track that drives everything forward but what might not be obvious is that we took parts of the vocoder moments and passed the bass synth through it. This creates an interlocking synergy between the humanistic yet digital vocal and the synths." Once again, the duo handed the track over to Aaron Cupples of Civil Civic for mixing. Cupples' pedigree includes credits for such acclaimed Australian artists as The Drones, Kirin J Callinan and Dan Kelly. Ben Smith (Hatchie, PLTS, Blind Girls, Empress) handled the intricate drum performance of a hats-driven break beat that work symbolically with the 808's production of claps and block hits. 'Empathy' is the opening track to Veople's debut EP, "EP1", due for release this October. The full release will also include latest tracks 'Tilt' and 'Maverick', the unreleased 'Under', and an extended version of 'Empathy'. "EP1" continue the group's penchant for impulsive audio-visual creations, paired to the ultimate and clear-cut vision. Veople began composing music and quickly released their first single, 'Riveria', in 2015 to immediate success on FBi Radio and revered music blog, Hillydilly. This trajectory continued in the international market when signed to Los Angeles-based Danger Village Music Publishing the same year. Regular rotation on triple j Unearthed for follow-up tracks, 'Distant Bodies' and 'Youth Code', cemented Veople as a band to watch. Influenced by the likes of Civil Civic, Japandroids and Digitalism, Veople began work redirecting their sound and, in 2017, were commissioned to produce new music by Super Souvenir as part of Bleach Festival and Festival 2018 during the Gold Coast Commonwealth Games. Veople pressed a vinyl record, "Day/Nights", that instrumentally translated the emotive nature of time and place as achieved in a 24-hour window on the Gold Coast. Veople were also a recipient of the HOTA Creative Development Grant to produce new work in 2019, which culminated in a sold-out live performance at HOTA's Outdoor Stage.   'Empathy' is available now. Veople Live Dates FRI 2 OCT | Mo's Desert Clubhouse | Gold Coast, QLD w/ Christian Patey & FeelsClub Tickets / details @ https://bit.ly/3mKvWbf
Music News

VEOPLE SWITCH TACTICS AND EMBRACE DISCO ON ‘EMPATHY’ + DEBUT EP ARRIVING OCTOBER 2020 + SUPPORTING CHRISTIAN PATEY AT LAUNCH SHOW

by the partae September 25, 2020
written by the partae

Between multidisciplinary artist and musician, Jay Jermyn, and musician, Julian Currie, Veople is an experiential sound and collaboration lingering in the space between tension and release through textural, house-orientated rhythms and electronic production.

Since their resurgence this year, the duo have shared the auditory rave of ‘Tilt‘ and the unrelenting post-rock cacophony of ‘Maverick‘, both picking up acclaim from international tastemakers including EARMILK, Dummy Mag, Stoney Roads, Acid Stag, Mystic Sons, FBi Radio, triple j Unearthed and more. ‘Empathy‘, Veople’s latest body of work, changes course yet again, charting unfamiliar musical landscapes—showcasing the group’s ability to hop across rock and electronic genres in an instant.

‘Empathy’ allows Veople to continue their trailblazing qualities into an unfathomably skilful and multi-layered cosmopolitan of post-rock and electronica. The group’s digital slime appears even more dystopian through the use of a vocoder—processing their vocals into a piece of technology itself, burrowing Veople even further into the matrix. While ‘Empathy’ still holds true to the group’s core mission, the addition of disco and pop elements through guitar and bass licks makes ‘Empathy’ their most accessible yet.

Veople’s ethos of blending the human and digital worlds together through music and technology comes to a crossroad on ‘Empathy’. As Jay Jermyn (bass/synths/programming) explains:

“There’s this throbbing synth bass underlying the whole track that drives everything forward but what might not be obvious is that we took parts of the vocoder moments and passed the bass synth through it. This creates an interlocking synergy between the humanistic yet digital vocal and the synths.”

Once again, the duo handed the track over to Aaron Cupples of Civil Civic for mixing. Cupples’ pedigree includes credits for such acclaimed Australian artists as The Drones, Kirin J Callinan and Dan Kelly. Ben Smith (Hatchie, PLTS, Blind Girls, Empress) handled the intricate drum performance of a hats-driven break beat that work symbolically with the 808’s production of claps and block hits.

‘Empathy’ is the opening track to Veople’s debut EP, “EP1“, due for release this October. The full release will also include latest tracks ‘Tilt’ and ‘Maverick’, the unreleased ‘Under‘, and an extended version of ‘Empathy’. “EP1” continue the group’s penchant for impulsive audio-visual creations, paired to the ultimate and clear-cut vision.

Veople began composing music and quickly released their first single, ‘Riveria‘, in 2015 to immediate success on FBi Radio and revered music blog, Hillydilly. This trajectory continued in the international market when signed to Los Angeles-based Danger Village Music Publishing the same year. Regular rotation on triple j Unearthed for follow-up tracks, ‘Distant Bodies‘ and ‘Youth Code‘, cemented Veople as a band to watch.

Influenced by the likes of Civil Civic, Japandroids and Digitalism, Veople began work redirecting their sound and, in 2017, were commissioned to produce new music by Super Souvenir as part of Bleach Festival and Festival 2018 during the Gold Coast Commonwealth Games. Veople pressed a vinyl record, “Day/Nights“, that instrumentally translated the emotive nature of time and place as achieved in a 24-hour window on the Gold Coast.

Veople were also a recipient of the HOTA Creative Development Grant to produce new work in 2019, which culminated in a sold-out live performance at HOTA’s Outdoor Stage.

‘Empathy’ is available now.
Veople Live Dates

FRI 2 OCT | Mo’s Desert Clubhouse | Gold Coast, QLD
w/ Christian Patey & FeelsClub
Tickets / details @ https://bit.ly/3mKvWbf

 

September 25, 2020 0 comments
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KURT VILE Shares new single 'How Lucky' - A duet with John Prine Announces Speed, Sound, Lonely KV EP
Music News

KURT VILE Shares new single ‘How Lucky’ – A duet with John Prine Announces Speed, Sound, Lonely KV EP

by the partae September 25, 2020
written by the partae
(Photo: Kate Taylor Battle)
Kurt Vile has announced his Speed, Sound, Lonely KV EP will be released Friday 2 October via Matador / Remote Control. Speed, Sound, Lonely KV was recorded and mixed in sporadic sessions that spanned four years at The Butcher Shoppe studio in Nashville, TN. It includes five songs — covers of John Prine and “Cowboy” Jack Clement as well as two originals — and was recorded alongside a cast of local heavies like Bobby Wood, Dave Roe, and Kenny Malone with Dan Auerbach (The Black Keys) and Matt Sweeney (Chavez, Superwolf) tossed into the mix as well.

Most importantly, it features what Kurt has called “Probably the single most special musical moment in my life” – a duet with the late John Prine on the songwriter’s well-loved tune, ‘How Lucky’.

“The truth is John was my hero for a long time when he came into The Butcher Shoppe to recut one of his deepest classics with me. And, man, I was floating and flying and I couldn’t hear anything he told me while he was there till after he was gone for the night,” notes Kurt in a personal statement that accompanies the record.

“A couple nights later we were playing ‘How Lucky’ together again; this time onstage at the Grand Ole Opry on New Year’s Eve at the turn of 2020. Nothing like seeing John and his band of musical brothers and family and friends playing into the new decade in front of an adoring audience on that stage in Nashville, TN… and, yup, that’s just how lucky we all got that night.”

Purchase / Stream ‘How Lucky’: https://kurtvile.ffm.to/howlucky

Pre-save / Pre-order Speed, Sound, Lonely KV (ep): https://kurtvile.ffm.to/speedsoundlonelykv

Matt Sweeney’s essay on Speed, Sound, Lonely KV (ep): 

His body left this planet in 2014, but “Cowboy” Jack Clement still brings seekers like Kurt Vile to Nashville to find the wild and mellow musical spaces he created.

Jack was Nashville’s Wizard of Oz. As a producer, songwriter, and mentor he had a profound guiding hand in the careers of Jerry Lee Lewis, George Jones, Johnny Cash, Dolly Parton, Charlie Pride, Waylon Jennings, Kris Kristofferson, Townes Van Zandt, and Kurt Vile’s hero John Prine. Clement’s still-out-of-print ’70s solo album All I Want To Do In Life is a holy grail for Kurt.

So Kurt asked me to introduce him to Jack’s protege, the great David “Fergie” Ferguson. Ferg is a Nashville studio legend in his own right and the owner/operator/house producer of The Butcher Shoppe, a recording studio he started with Prine. He was also Johnny Cash’s right-hand man and recording engineer. He’s a heavy, to say the least.

I’d told Kurt about meeting Ferg in 2005, when Rick Rubin asked me to play guitar on Cash’s America V and VI albums. Raised working in Jack’s studio, Fergie is hilarious. He’s very gruff, yet lovable and a unique mix of hillbilly and worldly. He’s the youngest of the Old Guard — utterly unpredictable and surprising while always maintaining a deep sense of the traditional. I hung on his every word during the Rick Rubin sessions and learned every song he showed me.

In 2006 Ferg called me and said: “Man, you gotta come to Nashville and meet Jack Clement, get with the real guys before they’re all gone.” This invitation was daunting — my NYC ass certainly didn’t know any “country licks”. He reassured me: “Hell, we don’t need any more country licks. We need something different. Besides, nobody’s really from Nashville ’cept for me and Jack loves weirdos so you’ll be fine.” 

So I went and my life changed. Ferg opened the doors to the Nashville I’d dreamed about. I kept my cool on that visit and as a reward he told me I could bring my non-Nashville friends to town so he and I could produce records for them “as long as they got songs and can really hang”.

The friends I brought in became new wild cards for Fergie to shuffle into this magic deck. A lot of recording ensued. Jack Clement was in his twilight years, but burning bright. Jack’s home studio and The Butcher Shoppe were full of musical legends dropping by to pick songs, have a smoke, get weird, tell jokes, and make records. For years.

When Jack died in 2014, Ferg assumed the mantle and kept Jack’s loose-but-laser-focused studio-style going at The Butcher Shoppe with the same gang of musicians that came up in Clement’s world.

And Kurt Vile wanted in on the action.

It took a couple years for Kurt and Ferg’s schedules to line up, but they finally lined up like a motherfucker in May 2016 for a recording of Kurt‘s version of the Prine original ‘Speed of the Sound of Loneliness,‘ among other songs.

Then Kurt came back again in late September 2016. Ferg booked two more days at The Butcher Shoppe and made another band for Kurt, including keyboardist Bobby Wood (Dusty In Memphis, Elvis’s ‘Suspicious Minds’) bassist Dave Roe (Johnny Cash, Jerry Reed), Kenny Malone (George Jones and the rest!), Pat Mclaughlin (ripping solo artist and Prine‘s mandolin player for many years) along with me on guitar as a bridge between that gang and Kurt’s East Coast freakness.

That first day at The Butcher Shoppe we recorded a cover of Cowboy Jack’s ‘Gone Girl’ and a remarkable blissed-out Kurt original. We had to finish early, though, cuz Ferg had also lined up a big night: Some more of his friends to join Kurt for a loose evening of live music at The Station Inn, Nashville’s realest music venue.

Kurt: “It was backstage at the Station Inn where Ferg introduced me to John Prine for the first time. And the first thing John told me was that he heard and liked my version of ‘Speed of the Sound of Loneliness’. I knew Ferg had showed him that recording, but it was wild to hear him acknowledge it to say the least…. meeting him then was a perfect moment to do so, but also comical… I had my daughter Awilda back there with me at that moment — who was 6 at the time — and other interesting people were around like Billy Ray Cyrus, who was being really funny and cool… the other big reason I was there in Nashville at that time was to catch Prine‘s two 70th birthday shows at the Ryman… so to see him a couple nights before his big shows, warming up on such a tiny stage in a moment when I was sort of “in the scene” was a real treat and a trip… I had to break the ice by asking Billy Ray in front of everyone if he ever heard that Cypress Hill song where they namedrop him, to which he replied ‘no, I never heard it!’”

Our mind-blown and hungover selves returned to the Butcher Shoppe the next day to work a little more. It took another three years before Kurt could get back to mix what we did, but on that return trip he finally got to record a song with his hero John Prine.

Kurt: “Probably the single most special musical moment in my life.” 

Jack Clement was already gone when Kurt first came to town to catch his vibe. Now John Prine is gone and The Butcher Shoppe building has been sold. But the music Jack Clement made is about an energy between people, an unbroken thread. I’m grateful to witness how Fergie plugged Kurt Vile into Jack’s electric mainline of American music that he’d wired and switched on back in 1958. The songs Kurt recorded at The Butcher Shoppe have that continuous electrical charge running through them.

The new Butcher Shoppe Studio is 14 miles outside of Nashville in the countryside and the sound keeps rolling.

Kurt Vile – Speed, Sound, Lonely KV (ep)
1. Speed of The Sound of Loneliness
2. Gone Girl
3. Dandelions
4. How Lucky (with John Prine)
5. Pearls
Kurt Vile – Speed, Sound, Lonely KV EP is out Friday 2 October via Matador Records / Remote Control.
Kurt Vile
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September 25, 2020 0 comments
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LIA LIA
Music News

LIA LIA Signs to b4 Releases new single ‘Night Call’

by the partae September 25, 2020
written by the partae

Photo Credit:  Rob Kuliesk

Berlin-based vocalist and songwriter LIA LIA shares her new single ‘Night Call’. The single and accompanying video, directed by Jannik Schneider, are available to buy and stream on all platforms via b4 / Remote Control.

Thriving in the space between the sugary-sweet and the melancholic, LIA LIA’s latest single is pop for after midnight. Inspired by Chinese fairy tales and Japanese anime, the ‘Night Call’ video sees a teenage LIA LIA stuck in school, isolated and alone. As she becomes consumed by anxiety, she awakens Ryū — short for Ryūjin 龍神, “dragon god” — a water dragon spirit in human form who she then has to battle, after taking up arms to become her alter-ego Baby Punk. “The song is about feeling lonely and disconnected from the world, waiting for someone to come and rescue me from my bedroom,” she explains.

‘Night Call’ was mixed and mastered by Geoff Swan (Charli XCX, Caroline Polachek, Ashnikko) and is LIA LIA’s first single release of 2020. Previous releases including cult pop gem ‘Boba Boba’ have drawn the attention of global media titles like NME, Gorilla vs. Bear and The Independent, plus two major profiles in American Vogue and Nylon Japan, in collaboration with Louis Vuitton. LIA LIA also recently supported Doja Cat on a string of German live shows. ‘Night Call’ is released today on b4, a forward-thinking label that serves as a home for tomorrow’s most relevant artists.

LIA LIA – ‘Night Call’ is out now
via b4 / Remote Control Records

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September 25, 2020 0 comments
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Music News

Melbourne producer edapollo returns with captivating electronica singles ‘Air’ & ‘Illuminate’

by the partae September 24, 2020
written by the partae
Australian based artist edapollo returns with new double A-side release ‘Air’ & ‘Illuminate’. The two tracks showcase the producers ability to carve out powerful and emotive electronica anthems, which are equally suited to home listening or for a packed out club. Both tracks were written and produced at the start of Melbourne’s Covid-19 lockdown, where the producer found himself confined to his studio for months, with little interaction from the outside world. The resulting tracks encapsulate a reflective melancholy and deep sense of longing for reconnection.

Listen to “Air” & “Illuminate” here: 
https://bit.ly/3iGgYRa

https://www.instagram.com/edapollo/
https://www.facebook.com/edapollouk/
https://soundcloud.com/edapollo
https://twitter.com/edapolloUK
September 24, 2020 0 comments
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The track is a manically high energy and anthemic piece of synth-rock, with a punchy ear-worm chorus and scything vocals. ‘I wrote Eyeliner when I was at rock-bottom and involved in some really toxic relationships.’ says lead vocalist Patrick. The lyric “Sitting on my bedside, I need to ask myself, where to my ambition go?” is literally what I did everyday at the time.’ Gone Sugar Die are Patrick McWilliams (vocals, drums and synth) formerly of The Cut Losses and Mike Hindert (bass) who was previously a notorious member of hit NYC band The Bravery. McWilliams has recently become a voice for the penalized youth of his native Canada after speaking out against backlash from an alleged ‘Party Bus’ incident that was falsely reported to have caused violent scenes in Vancouver city. He has also previously received a letter from the office of John Horgan, the Premier of British Columbia, to recognize and commend his activism, charity and advocacy work. Eyeliner is released on September 18th via Pet Shop Records and is the first new single from a forthcoming EP by the band. The track was exec-produced by Skip Curtis and the music video was made by the band’s bassist Mike. Gone Sugar Die have toured the US and Canada and are planning another run of live performances as soon as it is safe to do so. Social media: https://facebook.com/gonesugardie https://instagram.com/gonesugardie https://twitter.com/gonesugardie
Music News

Los Angeles based glam-synth rock duo Gone Sugar Die return with raucous new single ‘Eyeliner’

by the partae September 24, 2020
written by the partae

The track is a manically high energy and anthemic piece of synth-rock, with a punchy ear-worm chorus and scything vocals.

‘I wrote Eyeliner when I was at rock-bottom and involved in some really toxic relationships.’ 
says lead vocalist Patrick. The lyric “Sitting on my bedside, I need to ask myself, where to my ambition go?” is literally what I did everyday at the time.’

Gone Sugar Die are Patrick McWilliams (vocals, drums and synth) formerly of The Cut Losses and Mike Hindert (bass) who was previously a notorious member of hit NYC band The Bravery. McWilliams has recently become a voice for the penalized youth of his native Canada after speaking out against backlash from an alleged ‘Party Bus’ incident that was falsely reported to have caused violent scenes in Vancouver city.  He has also previously received a letter from the office of John Horgan, the Premier of British Columbia, to recognize and commend his activism, charity and advocacy work.

Eyeliner is released on September 18th via Pet Shop Records and is the first new single from a forthcoming EP by the band. The track was exec-produced by Skip Curtis and the music video was made by the band’s bassist Mike.

Gone Sugar Die have toured the US and Canada and are planning another run of live performances as soon as it is safe to do so.

 

https://facebook.com/gonesugardie

https://instagram.com/gonesugardie

https://twitter.com/gonesugardie

September 24, 2020 0 comments
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AALOK BALA SHARES TRANSPORTIVE 1
Music News

AALOK BALA SHARES TRANSPORTIVE THIRD SINGLE ‘THE HIVE’

by the partae September 24, 2020
written by the partae
Photo credit: Maria Kanevskaya
PRAISE FOR AALOK BALA

“A transcendent fantasy”
Sniffers

“Both celestial and earthy”
KCRW

“Mesmerizing vocals, inviting us to connect with ourselves and our dreams”
Remezcla

“Bala seeks to create music that helps people transcend any earthly reason”
The Deli LA

“Aalok Bala manifests a new world”
The FADER

Aalok Bala today shares her new single ‘The Hive‘, the latest track to be previewed from her forthcoming debut EP Sacred Mirror which premiered overnight by Mary Ann Hobbs on BBC Radio 6. Listen HERE.

The Queens-raised, LA-based producer, songwriter, and visual artist continues to build upon the utopian, otherworldly vision offered on previous singles, ‘Moon Juice‘ and ‘Sueño‘. With warping electronics,  synth chords, and birdsong lingering in the background, ‘The Hive‘ builds hypnotically – almost imperceptibly – to a spiraling crescendo. “Don’t go too far, when nothing can save you” Aalok sings, her spellbinding voice trailing off into the ether as she sweeps you along with her on her journey towards transcendence. By the end, you’re transformed, feeling as though some higher plane has opened up to you. But you’re not quite sure how you got from there to here; such is the power and mystery of Aalok Bala’s music. 

Says Aalok about the new track, “The Hive is about mother earth and all the creatures that share this magnificent globe. We often are so concerned about our own well-being we forget about even the tiniest creatures which we depend on. Allow this story to take you and maybe even transform you into a small honey bee.”

The granddaughter of a renowned Chilean composer, Aalok Bala was exposed to an eclectic variety of musical and cultural influences while growing up in Queens, New York. As a child, she taught herself to play guitar and piano among other instruments, and as a teenager, she became obsessed with the art of recording music, spending countless hours in studios learning production.

Bala’s music is a dizzying blend of these influences, under-ridden by a distinctly contemporary pop sensibility. Marrying traditional Andean flute melodies with analog synthesizers, manipulated percussive loops, and ethereal vocal harmonies, her unique, immersive soundscapes explore themes of consciousness, spirituality, and desire, connecting the past, present and future into one.

‘The Hive‘ by Aalok Bala is out now, buy it/stream it here.

Aalok Bala’s Sacred Mirror EP is out Oct 23rd, pre-order it here.

 

Stay connected with Aalok Bala:
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September 24, 2020 0 comments
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Elle Músa shares Dro Carey's disco house take on 'Mango Pops'
Music News

Elle Músa shares Dro Carey’s disco house take on ‘Mango Pops’

by the partae September 24, 2020
written by the partae
LOVE FOR ELLE MÚSA 

“There’s an instant nostalgia that swings around as summer days end. The idyllic kind in which you’re living completely in the moment. Until the sun dips and the sand cools and then you’re anything but, with the reminder it can’t always be this way. Elle Músa captures the feeling in with her new single, Mango Pops.” – RUSSH

“When this gets all choral and full i was totally enamoured. just like it’s silly to exert yourself on a real hot day, this is gorgeous pop enjoying a refreshing treat in the shade.” – Declan Byrne (triple J)

“From a strutting bassline to euphoric synths, the most uplifting vocal loop, shuffling beats and so many drops you’ll find yourself falling head over heels for it again and again, this remix is about as good as it gets.” – Purple Sneakers

Hot on the heels of Goodchild’s Madchester-infused remix by Goodchild (aka Reggie Goodchild from Confidence Man), Elle Músa today shares another remix  of her latest single ‘Mango Pops‘ – this time an expertly crafted disco house groove from Sydney producer Dro Carey. 

Having just released his debut LP ‘Nothing Is A Solo Project‘ last week – itself a collection of masterfully produced tracks – his turn on Músa’s ‘Mango Pops’ showcases his innate ability to craft groove-ready bass lines, which he sets below the staccato piano from the original to create a track that, in Elle’s words,  makes you “instantly want to dance.”

For Carey, it was the piano from the original that made him “immediately inspired to flip the chords into a house track.” Whilst for Musa the percussion incorporated into the track by Carey “gives me Quincy Jones vibes when the conga style drums come in and feels me with joy“, and transports the listener to distant places: “I can imagine being on holiday in Europe somewhere and driving around windy roads to arrive at a bar by the ocean.”

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September 24, 2020 0 comments
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PRAISE FOR FELIVAND Apple Music Artist of the Week "FELIVAND’s music is blissfully distinctive. Her lyrics are intimate and have a palpable sense of immediacy" Bandcamp "Floats, but never drifts off too far that you lose interest." Richard Kingsmill, triple j (4.5 stars) "A dreamy slice of R&B that's equal parts thoughtful and fierce" FBi Radio "A genre-fusing act who aims to make her mark with her unique pop-tinged soul music" Earmilk LISTEN HERE 21-year-old producer, singer and songwriter FELIVAND today shares her latest single ‘Midsummer Sun’. Following lead single ‘Trajectory’, ‘Midsummer Sun’ is the second track previewed from the rising neo-soul artist’s forthcoming second EP, Nerve, due out October 16. Listen HERE.  Co-written and produced by close friend Allan McConnel (Close Counters), ‘Midsummer Sun’ lulls you in with easy, quixotic nostalgia before revealing the bite that lies underneath. Artfully and acutely, FELIVAND imparts the painful pull of caring for someone who doesn't care enough for themselves and the helplessness and questioning of watching them give into their own self-destructive tendencies. With bold and resolute synth chords in the foreground, FELIVAND fills ‘Midsummer Sun’ with brilliant arpeggiators, crunchy percussion and warm, earthy melodies, bridging the smooth neo-soul stylings of Jorja Smith and Solange with glimmers of IGOR-era Tyler, the Creator. FELIVAND’s forthcoming sophomore EP follows on from her radiant 2018 debut, In Bloom, which won her early fans from COLORS, Bandcamp, Apple Music (Artist of the Week), triple j and more. Nerve represents a maturation of her sound, a seamless slide into a slinkier, darker shade of pop that simultaneously expands her creative horizons while also capturing that rush of an artist currently coming into her own. Nerve plays like a beguiling trick mirror, reflecting back different images at different moments. Look on one day from a particular angle, and you might hear the soundtrack to long, lonely nights spent spiralling down existential wells of everything ever said and done; look at it on another day and from another angle, and you might now hear the soundtrack to an endless Summer drive, where the wind courses through your hair and the immeasurable beauty of the world prickles at your senses.  ‘Midsummer Sun’ by FELIVAND is out now, buy/stream it here. Nerve EP October 16 Pre-save/order here Stay connected with FELIVAND:  Facebook | Instagram | Twitter | Bandcamp
Music News

FELIVAND SHARES NEW SINGLE ‘MIDSUMMER SUN’ ANNOUNCES NERVE EP OUT OCT 16

by the partae September 24, 2020
written by the partae
PRAISE FOR FELIVAND

Apple Music Artist of the Week

“FELIVAND’s music is blissfully distinctive. Her lyrics are intimate and have a palpable sense of immediacy”
Bandcamp

“Floats, but never drifts off too far that you lose interest.”
Richard Kingsmill, triple j (4.5 stars)

“A dreamy slice of R&B that’s equal parts thoughtful and fierce”
FBi Radio

“A genre-fusing act who aims to make her mark with her unique pop-tinged soul music”
Earmilk

LISTEN HERE

21-year-old producer, singer and songwriter FELIVAND today shares her latest single ‘Midsummer Sun’. Following lead single ‘Trajectory’, ‘Midsummer Sun’ is the second track previewed from the rising neo-soul artist’s forthcoming second EP, Nerve, due out October 16. Listen HERE. 

Co-written and produced by close friend Allan McConnel (Close Counters), ‘Midsummer Sun’ lulls you in with easy, quixotic nostalgia before revealing the bite that lies underneath. Artfully and acutely, FELIVAND imparts the painful pull of caring for someone who doesn’t care enough for themselves and the helplessness and questioning of watching them give into their own self-destructive tendencies. With bold and resolute synth chords in the foreground, FELIVAND fills ‘Midsummer Sun’ with brilliant arpeggiators, crunchy percussion and warm, earthy melodies, bridging the smooth neo-soul stylings of Jorja Smith and Solange with glimmers of IGOR-era Tyler, the Creator.

FELIVAND’s forthcoming sophomore EP follows on from her radiant 2018 debut, In Bloom, which won her early fans from COLORS, Bandcamp, Apple Music (Artist of the Week), triple j and more. Nerve represents a maturation of her sound, a seamless slide into a slinkier, darker shade of pop that simultaneously expands her creative horizons while also capturing that rush of an artist currently coming into her own.

Nerve plays like a beguiling trick mirror, reflecting back different images at different moments. Look on one day from a particular angle, and you might hear the soundtrack to long, lonely nights spent spiralling down existential wells of everything ever said and done; look at it on another day and from another angle, and you might now hear the soundtrack to an endless Summer drive, where the wind courses through your hair and the immeasurable beauty of the world prickles at your senses. 

‘Midsummer Sun’ by FELIVAND is out now, buy/stream it here.

Nerve EP
October 16
Pre-save/order here

Stay connected with FELIVAND:
Facebook | Instagram | Twitter | Bandcamp

September 24, 2020 0 comments
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Single Launch shows: The Vanguard, Sydney – THURSDAY, OCTOBER 15 Lalala’s, Wollongong – FRIDAY, OCTOBER 23 Having spent the past couple of years sweating it out in venues up and down the East Coast of Australia, Eddie Boyd AKA Human Noise (formerly Boydos) has returned with a fresh moniker, revived energy, and his strongest single to date.   Listening to his debut record It’s Alright, Look At Me I’m Young (2019), you wouldn’t have guessed all was not quite well in the camp of the Sydney muso. Swaying between heartful Jeff Buckley-esque songmanship and bouncy indie rock, all the while chronicling his foray into young manhood, IALAMIY quickly established him as one of the most exciting talents in the Australian musical ecosystem. Yet, the name “Boydos”, niggled away at the enigmatic songwriter.   “It always felt like a rushed choice to me” Boyd says of his former title. “I had been stewing on it for a long time and I just didn't feel connected to “Boydos”. I definitely think the new name represents the music better.”   Today we have the first taste of Human Noise’s as yet untitled sophomore album, recorded in New Zealand with NZ Music Award-winning producer Ben Edwards. ‘How Is It You Do That?’, which clocks in at two minutes and six seconds, is a frenetic melodic collage that explodes with energy.   With the drum beat charging toward the finish line, Boyd lets his vocals take center-stage. The emotion that bleeds through the speaker is simply electrifying. Ironically, the track lyrically centers around controlling your mind, or in Boyd’s case, a lack thereof:   “How Is It You Do That?’ is an ode to a friend and his ability to be calm under emotional stress. We were going through similar things at the same time and I really admired the way he could maintain such a rational and forgiving outlook. It was a challenging time for both of us and I’m really happy at how well that angst and frustration was captured in the studio.”   Directed and edited by Boyd himself, with AnnieRose Collis shooting on the night, the video encapsulates the frantic bones of the track. Shot in one take, Boyd gives the song the impassioned performance it deserves as a spattering of colours radiate in the background.   “I was just trying to think of economic ways to make a video clip that wasn’t terrible, and I definitely made a few terrible prototypes. We shot it at half the speed of the final edit, to give it that frantic, unhinged effect. We did a bunch of takes, because if the camera's not steady, it just looks crazy” he says. “There's a hilarious early take of me, loping around suburbia, singing full volume at half speed sounding like a total drunk.”   If you’re late to the Human Noise party, now’s the chance to sink your teeth in. The new record is expected early 2021 and if ‘How Is It You Do That?’ is anything to go by, the birth (or rebirth) of Human Noise is something you don’t want to sleep on.   “I'm really excited for everything to be heard, which is a different feeling than I had with the first album,” Boyd says. “I feel more confident in the lyrics. I just feel like ... Yeah, I feel excited about everything.”   How Is It You Do That? is out now through Ditto Music.   Single Launch shows: The Vanguard (Sydney) – THURSDAY, OCTOBER 15 Lalala’s (Wollongong) – FRIDAY, OCTOBER 23   Ticketing info HERE CONNECT WITH HUMAN NOISE
Festival NewsMusic News

Human Noise releases new single ‘How Is It You Do That?’ + Single Launch Shows

by the partae September 24, 2020
written by the partae

Single Launch shows:
The Vanguard, Sydney – THURSDAY, OCTOBER 15
Lalala’s, Wollongong – FRIDAY, OCTOBER 23

Having spent the past couple of years sweating it out in venues up and down the East Coast of Australia, Eddie Boyd AKA Human Noise (formerly Boydos) has returned with a fresh moniker, revived energy, and his strongest single to date.

Listening to his debut record It’s Alright, Look At Me I’m Young (2019), you wouldn’t have guessed all was not quite well in the camp of the Sydney muso. Swaying between heartful Jeff Buckley-esque songmanship and bouncy indie rock, all the while chronicling his foray into young manhood, IALAMIY quickly established him as one of the most exciting talents in the Australian musical ecosystem. Yet, the name “Boydos”, niggled away at the enigmatic songwriter.

“It always felt like a rushed choice to me” Boyd says of his former title. “I had been stewing on it for a long time and I just didn’t feel connected to “Boydos”. I definitely think the new name represents the music better.”

Today we have the first taste of Human Noise’s as yet untitled sophomore album, recorded in New Zealand with NZ Music Award-winning producer Ben Edwards. ‘How Is It You Do That?’, which clocks in at two minutes and six seconds, is a frenetic melodic collage that explodes with energy.

With the drum beat charging toward the finish line, Boyd lets his vocals take center-stage. The emotion that bleeds through the speaker is simply electrifying. Ironically, the track lyrically centers around controlling your mind, or in Boyd’s case, a lack thereof:

“How Is It You Do That?’ is an ode to a friend and his ability to be calm under emotional stress. We were going through similar things at the same time and I really admired the way he could maintain such a rational and forgiving outlook. It was a challenging time for both of us and I’m really happy at how well that angst and frustration was captured in the studio.”

Directed and edited by Boyd himself, with AnnieRose Collis shooting on the night, the video encapsulates the frantic bones of the track. Shot in one take, Boyd gives the song the impassioned performance it deserves as a spattering of colours radiate in the background.

“I was just trying to think of economic ways to make a video clip that wasn’t terrible, and I definitely made a few terrible prototypes. We shot it at half the speed of the final edit, to give it that frantic, unhinged effect. We did a bunch of takes, because if the camera’s not steady, it just looks crazy” he says. “There’s a hilarious early take of me, loping around suburbia, singing full volume at half speed sounding like a total drunk.”

If you’re late to the Human Noise party, now’s the chance to sink your teeth in. The new record is expected early 2021 and if ‘How Is It You Do That?’ is anything to go by, the birth (or rebirth) of Human Noise is something you don’t want to sleep on.

“I’m really excited for everything to be heard, which is a different feeling than I had with the first album,” Boyd says. “I feel more confident in the lyrics. I just feel like … Yeah, I feel excited about everything.”

How Is It You Do That? is out now through Ditto Music.

Single Launch shows:
The Vanguard (Sydney) – THURSDAY, OCTOBER 15
Lalala’s (Wollongong) – FRIDAY, OCTOBER 23

Ticketing info HERE

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September 24, 2020 0 comments
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Where are you currently based? We're all based around the inner-west of Sydney City. How did Grids & Dots form? We were originally sort of an art project between myself and Carmen Minikus, before going through a number of different iterations over the next few years few years to becoming the band we are now. I feel like we've really just found our feet (and our sound) over the past year and a half or so. What's been happening recently and how has your Covid experience been so far? Like everyone else, our live shows came to a grinding halt as the world turned upside down in Feburary or March, but I think we were really lucky in a way as we had already just booked in recording and mixing time for our debut EP and we were able to get a lot of done just as the restrictions came into place. There was some down time as we isolated like everyone else, but we've still managed to keep moving! How did you first start playing music? Myself and Carmen first started playing together in a flat share near Chinatown about six years ago, coming from completely different musical backgrounds. She was a classically trained pianist, and I was a guitarist more used to playing in noisy post-rock types of bands. We somehow found some kind of connection in each other's music, but it really took shape when Carmen started playing guitar. We haven't looked back since. Your new single 'The Great Divide' is out now, what influenced the sound and songwriting? I feel like the sound of the song really sits in that pocket of being dream pop, with the reverb-drenched guitar and floating melodies, but it definitely has a driving element to it coming from the rhythm section which makes it sort of an uplifting tune and stops it from being too melancholic, I think. The songwriting itself was influenced by personal experiences of people you care about or used to care a lot about who have become physically or emotionally distant to where you can't find them anymore.  How did you go about writing the single? When I was writing the initial melody and structure, I definitely thought about having Carmen becoming more involved in the singing and writing process and trying to harmonise together. I have always loved bands who used multiple vocal harmonies drifting in and out with each other, like the Byrds or maybe Teenage Fanclub, and I really wanted to try some of that approach in our music. The song was actually still unfinished when we brought it into the studio, and our producer, who is a great songwriter himself, helped give it a few finishing touches. We taught it to the rest of the band on the spot and ran with it. Where and when did you record/produce? Th EP was recorded and produced with Wayne Connolly, at Hercules Street Studio in Surry Hills. The main instrument and vocal tracks were recorded in early March, and then we added more overdubs and layers when we could over the partial lockdown months, before going in and starting to mix everything in the months afterwards. We're still mixing the EP now actually, but hopefully it will all be done soon! How did you approach the recording/production process and who did you work with? Some of these songs had actually been ready for a couple of years before we went into the studio, so they had been demoed a few times already, and we were dying to get them out there. Then there are a couple of songs like the Great Divide which are really new comparatively. We worked with Wayne, whose production work with a number of Australian indie-rock bands we were really big fans of, as well as admiring the bands he himself had played in as well. What do you most enjoy about writing and playing music? For me writing music is pure catharsis. Some people just need some kind of outlet for their happy / sad feelings or else they go a bit nuts, and I think that I am one of them. I write a lot of stuff in the songs that I sometimes find difficult to say. Then there's just the thrill of playing the music to an audience, with some people who you really care about playing with you, and literally creating something out of nothing with them. Nothing can beat that feeling, really! Who are you listening to at the moment? I've been obsessed with Ruby Haunts latest album for about half a year now. Black Marble are another go to band of mine, and I've recently started listening to an old Alt-rock band from 80s New Zealand called The Clean. They were on that amazing Flying Nun record label and the music is just fantastic. What do you like to do away from music? I'm a digital designer by trade, and I like photography and reading a lot, and occasionally playing retro video games. We also go out camping a lot in summertime. What's planned for the remainder of 2020 going into 2021? We have a new single which is a cover of a song by Nick Drake out next month through Scenic Drive records, and then our debut EP will be out early next year. We have an albums worth of material we're writing now which we hope to record in Feb or March next year which we are literally so excited about. Favourite food and place to hangout? One of my favourite restaurants is a small Italian place on Cleveland St. in Darlington called Kindred. Just a super nice local atmosphere and the best food. Our favourite place to hang out and chill is the dog beach behind the main strip in Rose Bay! ‘The Great Divide’ is out now! Official Website | Facebook | Twitter | Instagram | YouTube | Triple J Unearthed
Music InterviewsMusic News

Grids & Dots with Daniel Handaru

by the partae September 24, 2020
written by the partae

Where are you currently based?

We’re all based around the inner-west of Sydney City.

How did Grids & Dots form?

We were originally sort of an art project between myself and Carmen Minikus, before going through a number of different iterations over the next few years few years to becoming the band we are now. I feel like we’ve really just found our feet (and our sound) over the past year and a half or so.

What’s been happening recently and how has your Covid experience been so far?

Like everyone else, our live shows came to a grinding halt as the world turned upside down in Feburary or March, but I think we were really lucky in a way as we had already just booked in recording and mixing time for our debut EP and we were able to get a lot of done just as the restrictions came into place. There was some down time as we isolated like everyone else, but we’ve still managed to keep moving!

How did you first start playing music?

Myself and Carmen first started playing together in a flat share near Chinatown about six years ago, coming from completely different musical backgrounds. She was a classically trained pianist, and I was a guitarist more used to playing in noisy post-rock types of bands. We somehow found some kind of connection in each other’s music, but it really took shape when Carmen started playing guitar. We haven’t looked back since.

Your new single ‘The Great Divide’ is out now, what influenced the sound and songwriting?

I feel like the sound of the song really sits in that pocket of being dream pop, with the reverb-drenched guitar and floating melodies, but it definitely has a driving element to it coming from the rhythm section which makes it sort of an uplifting tune and stops it from being too melancholic, I think. The songwriting itself was influenced by personal experiences of people you care about or used to care a lot about who have become physically or emotionally distant to where you can’t find them anymore.

How did you go about writing the single?

When I was writing the initial melody and structure, I definitely thought about having Carmen becoming more involved in the singing and writing process and trying to harmonise together. I have always loved bands who used multiple vocal harmonies drifting in and out with each other, like the Byrds or maybe Teenage Fanclub, and I really wanted to try some of that approach in our music. The song was actually still unfinished when we brought it into the studio, and our producer, who is a great songwriter himself, helped give it a few finishing touches. We taught it to the rest of the band on the spot and ran with it.

Where and when did you record/produce?

The EP was recorded and produced with Wayne Connolly, at Hercules Street Studio in Surry Hills. The main instrument and vocal tracks were recorded in early March, and then we added more overdubs and layers when we could over the partial lockdown months, before going in and starting to mix everything in the months afterwards. We’re still mixing the EP now actually, but hopefully it will all be done soon!

How did you approach the recording/production process and who did you work with?

Some of these songs had actually been ready for a couple of years before we went into the studio, so they had been demoed a few times already, and we were dying to get them out there. Then there are a couple of songs like the Great Divide which are really new comparatively. We worked with Wayne, whose production work with a number of Australian indie-rock bands we were really big fans of, as well as admiring the bands he himself had played in as well.

What do you most enjoy about writing and playing music?

For me writing music is pure catharsis. Some people just need some kind of outlet for their happy / sad feelings or else they go a bit nuts, and I think that I am one of them. I write a lot of stuff in the songs that I sometimes find difficult to say. Then there’s just the thrill of playing the music to an audience, with some people who you really care about playing with you, and literally creating something out of nothing with them. Nothing can beat that feeling, really!

Who are you listening to at the moment?

I’ve been obsessed with Ruby Haunts latest album for about half a year now. Black Marble are another go to band of mine, and I’ve recently started listening to an old Alt-rock band from 80s New Zealand called The Clean. They were on that amazing Flying Nun record label and the music is just fantastic.

What do you like to do away from music?

I’m a digital designer by trade, and I like photography and reading a lot, and occasionally playing retro video games. We also go out camping a lot in summertime.

What’s planned for the remainder of 2020 going into 2021?

We have a new single which is a cover of a song by Nick Drake out next month through Scenic Drive records, and then our debut EP will be out early next year. We have an albums worth of material we’re writing now which we hope to record in Feb or March next year which we are literally so excited about.

Favourite food and place to hangout?

One of my favourite restaurants is a small Italian place on Cleveland St. in Darlington called Kindred. Just a super nice local atmosphere and the best food. Our favourite place to hang out and chill is the dog beach behind the main strip in Rose Bay!

‘The Great Divide’ is out now!

Official Website | Facebook | Twitter | Instagram | YouTube | Triple J Unearthed
September 24, 2020 0 comments
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Exceptional artists added to 2021 Bluesfest
Festival NewsMusic News

Exceptional artists added to 2021 Bluesfest

by the partae September 23, 2020
written by the partae

THE CHURCH

KATE MILLER-HEIDKE

THE LIVING END

THE ANGELS

ROSS WILSON AND THE PEACENIKS

BLUE KING BROWN

JEFF LANG

KARA GRAINGER

And many more to be announced!

Get your tickets on-sale now

The 2021 Bluesfest Third Artist Announcement is a legendary list of exceptional artists who join what is already an incredible line up of Australian talent confirmed to perform next Easter on April 1 – 5th at the beautiful green Tyagarah Tea Tree Farm located 10 minutes north of Byron Bay.

 Commenting on the announcement Festival Director, Peter Noble OAM says “Look at this line up – all that talent. When it comes to musical talent Australia is an embarrassment of riches and it is a privilege to create a line up to clearly showcase that very fact.”

 Legendary psych-rock guitar stars The Church step on to the Bluesfest stage for the very first time and headline this Third Artist Announcement for 2021 Bluesfest.  Award winning singer-songwriter and Euro Vision 2019 success story Kate Miller- Heidke will bring her touch of class,  whilst punk inspired rock band The Living End with their blend of rockabilly and punk and eternal rock-stars The Angels bring their exhilarating and raw live energy to this powerful line up.  Rock royalty and bona fide legend  Ross Wilson & The Peaceniks have signed on and will be pumping out the non-stop hit machine featuring songs from Daddy Cool to Mondo Rock.  Joining them are festival favourites Blue King Brown,  headed up by the dynamic no-holds- barred pocket rocket Nattali Rize. “Bluesfest is one of our favourite festivals on the planet. We’re looking forward to returning to Australian shores and bringing the full power Blue King Brown show home!” Says Nattali Rize.

With 14 Bluesfest performances behind him, the first in 1994, Jeff Lang is a legend in his own right. Said to play the guitar with the devils in his fingers,  Jeff has won three ARIA Awards and his live performances are always a guaranteed showstopper. Adding more femme force to the bill is the return to Australia from the now Nashville based singer-songwriter Kara Grainger,  her soulful vocals and unique style of slide guitar has earned her ‘opening’ performance slots with Peter Frampton, Buddy Guy and Taj Mahal to name a few. Many in the business will be watching what this lead singer from the much-loved “Papa Lips” is doing now.

The Church

Australian psych-rock guitar masters The Church enter their fifth decade of making music with all the fierce creative energy of their early years. With new members introduced, the band are deep into recording the band’s 25th studio album, 40 years after their formation and will perform at Bluesfest for the first time in 2021. The 2020 epic line-up is bassist, vocalist and founder Steve Kilbey; with longtime collaborator Tim Ebandit Powles drummer and producer across 17 albums since ’94; guitarist Ian Haug who joined the band in 2013 and Jeffrey Cain, touring multi-instrumentalist who is now a full-time member of The Church since the departure of Peter Koppes in early 2020. The band have also recently recruited one of Australia’s finest and most respected guitarists Ashley Naylor (Even, The Grapes). Ashley and Steve have collaborated on many different projects over the years and now was the perfect time to bring Ashley into the band.

Kate Miller-Heidke 

Award winning singer-songwriter and Euro Vision 2019 success story Kate Miller-Heidke traverses the worlds of contemporary pop, folk, and opera.  She has released four studio albums including the top 5 album O Vertigo!, and Curiouser, which reached double platinum sales and featured the multi-platinum hits ‘The Last Day On Earth’ and ‘Caught In The Crowd’, which won Grand Prize in the 2009 International Songwriting Competition.

She won the 2016 Helpmann for Best Australian Contemporary Concert.

Trained as a classical singer at the Queensland Conservatorium, Kate has performed at the Metropolitan Opera in New York and several roles for the English National Opera. Her debut opera as a composer, The Rabbits, won 4 Helpmann Awards including Best Score and Best New Australian Work. With her collaborator Keir Nuttall, she has written the music and lyrics to Muriel’s Wedding: The Musical, which premiered at the Sydney Theatre Company and played throughout 2019 in Sydney, Melbourne and Brisbane.

 The Living End

The Living End consider themselves to be a rock ‘n’ roll band based on punk ethics, citing The Clash, Iggy Pop, The Who and The Jam as influences and bands with whom they share the same ideals.  Formed in 1994 and since 2002 the line up consists of Chris Cheney (vocals, guitar), Scott Owen (double bass, vocals) and Andy Strachan (drums).  The band rose to fame in 1997 after the release of their double A-sided single, ”Second Solution” / “Prisoner of Society”, which peaked at No. 4 on the Australian Singles Chart and went on to sell triple platinum. They have released seven studio albums and two reached the No. 1 spot on the Australian Albums Chart - self-titled album (12 October 1998) and State of Emergency (4 February 2006). They have also gained chart success in the United States and the United Kingdom.  Said to be one of Australia’s most ferocious live acts, their blistering live performances have earned the band an enviable position as one of Australia’s greatest live bands.

The Angels

Delivering raucous hard rock in the tradition of contemporaries like AC/DC and Rose Tattoo, the Angels are among the longest-lasting and most beloved bands ever to emerge from the Australian pub circuit. Their roots date back to 1973, when singer Doc Neeson and guitarist Rick Brewster first teamed up, but it was really in 1976 when they really started making their mark. Discovered by  AC/DC‘s Angus Young and Bon Scott, and signed to their label Albert Productions, their first single, ‘Am I Ever Gonna See Your Face Again’ was an instant hit – and set The Angels on their loud and proud rock journey.

Albums ‘The Angels,’ No Exit’, ‘Face To Face’, ‘Night Attack’, ‘Beyond Salvation’ and more followed …
and the Angels rock juggernaut rolled on through the decades. They lost two original members, Chris Bailey and Doc Neeson, but have never wavered in their musical mission.

Thirteen studio albums, eight Top 10 albums, 17 Top 40 singles … but that tells only part of The Angels story. It’s the relationship with the audience that means everything to the band, built via thousands of gigs. An exhilarating exchange of energy, legendary live shows, raucous audience ‘call-backs’, high-energy, high-voltage sets have made The Angels synonymous with Aussie pub-rock – and continues to keep The Angels at the forefront of our music industry as one of the most beloved rock bands in Australia. The Angels remain fierce and uncompromising. They have always done things their own way. So many of their songs   ‘Am I Ever Gonna See Your Face Again’, ‘Take A Long Line’, ‘Comin’ Down’, ‘Shadow Boxer’, ‘No Secrets’ … and more…. are bone-fide Australian anthems, calling out to be sung at high volume in a hot sweaty atmosphere. Featuring Dave Gleeson [Screaming Jets] on lead vocals and still run by founding members John Brewster and Rick Brewster you better answer that call and rally front and centre when The Angels play their first Bluesfest show.

Ross Wilson and The Peaceniks

From ‘Daddy Cool’ to ‘Mondo Rock’ and as a solo artist with no less than 26 ARIA Top 40 hits to his credit as a singer, songwriter and producer, Ross Wilson is one of Australia’s most awarded, respected and well-known artists! The legendary band ‘Daddy Cool’ whose number one anthem ‘Eagle Rock’ smashed all previous sales records in Australia, to the 1977 formation of ‘Mondo Rock’, delivering 80’s hits ‘Cool World’, ‘State of The Heart’, ‘Chemistry’, ‘No Time’, and ‘Come Said The Boy’ and into the 21st century as a solo performer, Ross Wilson has never been out of the limelight. Twice inducted into the ARIA Hall of Fame, Wilson has written hits for Jimmy Barnes, John Farnham and Joe Cocker, and produced smash hit albums for Jo Jo Zep and the Falcons, Skyhooks and Screaming Jets. Come back again to see an absolute solid gold legend of rock and his full band ‘The Peaceniks’ perform all his hits this year at 2021 Bluesfest.

Blue King Brown

Hailed by Santana as “The voice of the street and the band of the future!” Blue King Brown, is Australia’s premier live urban roots & reggae powerhouse act. Their cross-generational groove and socially conscious sound is lead by the multi talented, relentless energy of Nattali Rize. Powerful vocal & lyrical delivery’s meet a roots, rock & afro groove mash-up built on an irrepressible percussive foundation, cementing their highly regarded live reputation. A force of nature onstage Blue King Brown are festival favourites and return to Bluesfest for the eighth time this year.

Jeff Lang 

This will be the 15th Bluesfest performance for Australian guitarist-songwriter-vocalist-producer, Jeff Lang who made his Bluesfest debut in 1994. Jeff has built a reputation for making startling music that is accomplished, intricate, gutsy, melodic and loaded with soul. Often taking unexpected turns, he has consistently inspired his audiences by creating a stylistically diverse catalogue of over 30 albums.  As many journalists have written over the years, Jeff is not one to be easily pegged, though in a general sense it’s fair to say he largely trades in roots-oriented rock; wider reaching in collaborations with the likes of roving guitar anthropologist the late Bob Brozman, American blues-rocker Chris Whitley, India’s desert-dwellers Maru Tarang and world music virtuosos Bobby Singh and Mamadou Diabate. Jeff’s work with the latter won the 2010 ARIA for Best World Music Album, while he and Brozman took one home for Best Blues and Roots Music Album in 2002. Jeff received that same award on his own in 2012 for the album ‘Carried In Mind’. In 2020 Jeff published his first book – “Some Memories Never Die” – a memoir of three decades on the road; Memories of gigs where the pay was akin to blood money, reflections on how the road’s twists and turns can be lightened by the presence of fellow travellers and occasionally darkened by them too.

Kara Grainger

Some people just have music running through their veins. Kara’s music journey has taken her all around the globe. From her inner city beginnings in the town of Balmain, Sydney Australia, she has since performed and toured in Japan, Indonesia, India, Switzerland, Germany, the UK, and the USA. Her soulful vocals and unique style of slide guitar has caught the attention of many well renowned artists, she’s opened the show for Peter Frampton, Buddy Guy, Johnny Lang, Taj Mahal, Marc Cohen and Eric Johnson to name a few. Kara has been based in Nashville and returns to Australia after a long stint abroad. Many will be watching what she will bring to the stage on this occasion.

All ticket types and Add-Ons are on-sale now.

For further information on the line-up or artists please see here.

Bluesfest 2021 is being held from 1 – 5 April 2021. Tickets are on sale now via Moshtix.

 

Keep in touch via Facebook | Twitter | Instagram

September 23, 2020 0 comments
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