PERTO AND BANOFFEE TEAM UP ON
NEW SINGLE ‘I MISS YOU’
PERTO & BANOFFEE – ‘I MISS YOU’
OUT NOW
“Blond-mopped Aussie musical prodigy Perto, who’s fast making a name for himself around the world”
– GQ
“With Perto’s production hailing the attention of some pretty f***g big names, it’s been exciting to watch his musical evolution”
– STONEY ROADS
“Sydney producer consistently pushing the boundaries within the bass sub-genre, has proved himself to be more than just a young up-and-coming trend, working with some of the world’s biggest names”
– PILERATS
Today, eclectic Sydney born-producer Perto and Melbourne-born LA based singer/songwriter and producer Banoffee team up for their new single ‘I Miss You’. In uncertain times, good music gives solace – Perto and Banoffee’s “I Miss You” does just that, an uplifting ballad that was realised during a period of time where we weren’t as confined.
The duo got together in-between lockdowns in Melbourne to create a slice of nice that everyone needs in their life… now more than ever. The idea came to life in one of those magic days where in a matter of hours the song was done. Tom Norris (Skrillex, Lady Gaga, Porter Robinson) added the finishing touches by mixing and mastering the track.
“It’s definitely one of my favourite songs I’ve written in a while and the whole energy of the session was really refreshing, especially after being in lockdown.” Perto shares.
Banoffee adds: “I wrote the lyrics to express the feelings of sadness and frustration that come with having a friend in trouble. In the end we’re all helpless and support is all we can offer. ‘I Miss You’ is about missing someone who’s lost in their own web.”
‘I Miss You’ follows Perto’s fan favourite flip of Kim Petras’ ‘Clarity’ and recent collaboration with Whipped Cream & Ravenna Golden ‘IDFC’. While Banoffee (born Martha Brown) follows the success of her debut album Look At Us Now Dad which was released in February and remixes of tracks done by Planet 1999, umru and Nina Las Vegas in July.
Perto and Banoffee’s new single ‘I Miss You’ is out now everywhere, get amongst it here.
ABOUT PERTO
Perto is undoubtedly Australia’s biggest (and youngest) new export. His eclectic brand of electronic production has seen him release singles and remixes streamed millions of times, perform high-energy live sets around the world to thousands of devoted fans, and hit the studio with some of the world’s biggest acts — and he’s just turned 18.
The Sydney-born producer is a certified musical prodigy, whose output is mature beyond his years but as innovative and fortuitous as one would expect from an internet-fuelled savant with the world’s musical history at his fingertips.
2020 promises to be enormous for Perto, but in his words: “I don’t pay too much attention to it. I just make music.”
ABOUT BANOFFEE
Banoffee’s music is transgressive and she has a deeply vulnerable approach to pop. She has toured with Taylor Swift on a worldwide stadium tour as part of Charlie XCX’s troupe, and represents the new wave of mutant pop bubbling up from today’s queer club underground. She has been described as one of pop music’s “recent great forward thinkers” (FACT) and is known for infectious melodies that belie more unsettling, experimental textures and beats.
Look At Us Now Dad is Banoffee’s debut album, and it is an uplifting, hopeful journey that celebrates survival in the face of abuse and adversity. Featuring collaborations with SOPHIE, Empress Of, Cupcakke, Umru, and co-produced by Banoffee and Yves Rothman, it is an exciting musical hybrid of experimental club sounds and earworm pop. “Each song uses human experience to talk about more complex concepts of addiction, obsession, heartbreak, and resurrection,” says Banoffee. “Not to dwell in sadness, but to join hands.”
Perto ‘I Miss You’ Feat. Banoffee is available now
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Backed with a board of music industry professionals and experts in social activism, Scottish start up social enterprise Turn The Tables have announced plans for expansion after a successful pilot run in Edinburgh last year. With a focus on mixing records, the group – founded in 2018 by Cyrenians volunteer Robbie Tolson – support those who have experienced homelessness by delivering workshops that build mental health resilience through a holistic approach to wellbeing.
The group hope to help support even more people facing homelessness across Scotland and beyond – but they need financial support. An estimated 320,000 people are considered homeless in the UK and this number is expected to rise even further as a direct result of the economic and mental health impacts of Covid-19. Donate to the Crowdfunder page here: https://www.crowdfunder.co.uk/
Turn the Tables are also delighted to announce that Bushwacka! has become their first ambassador. The legendary DJ – who recently began working as a therapist – has started his own ‘Listen Up Therapy’ to provide therapy and counselling services to people working within the music and entertainment industries.
Bushwacka! said: “From my years djing to working within mental health there is something about the project that has really resonated with me. I have fundraised for homelessness charities in the past, so it is an honour to be supporting the work that Turn The Tables do.”
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SUPPORT FOR ‘4BAR4’
“[4BAR4] is two potent minutes of hip-hop heat that sees the MC pair joust with rapid-fire wordplay over a mid-tempo beat and retro scratch DJ-style production.“
– Music Feeds (AUS)
“Rode that production real niceeee.” – 4/5 stars
– Ebony Boadu – triple j (AUS)
“Kiyanosh is stepping up to meet the old school and bridge the new. His boom bap influences & 4 bar swaps with Stoyan on the feature are a refreshing ode to the classics, this is 100% one for the hip-hop heads old and new.”
– Jannah Beth – Mood Media (AUS)
Following on from the release of his critically praised single ‘KARMA’, Sydney-based Iranian jazz rapper Kiyanosh has returned with his potent new single ‘4BAR4’ featuring rapper Stoyan.
The track is two ferocious minutes of intricate wordplay, flawless delivery and crisp production, forming an amalgamation of hip-hop excellence. Snapping snares and serene synth stabs create a playground for both wordsmiths to experiment with their rhythm and cadence, with the expertly arranged one-shot video clip depicting the playful, but erratic bars flawlessly.
Kiyanosh will continue with his dynamic 2020 output, with both ‘4BAR4’ and ‘KARMA’ appearing on his forthcoming EP ‘Dying Alone’ – due October 1. In addition to his solo project, Kiyanosh is also a member of hip-hop duo SKID2 and founder of the Spretbot Syndicate record label and collective.
Previous releases have been strongly supported by the likes of Australian radio stations triple j, triple j Unearthed, FBi Radio, 2SER FM, 2XX FM and Radio Adelaide. The tracks also received praise from blog tastemakers AUD’$, The Word is Bond (USA), Hip Hop Magz (USA), Music Feeds, The Soundcheck and Something You Said.
Kiyanosh embraces the sounds of jazz, soul, electronic and everything in between. Born and raised in Sydney with most of his family overseas, Kiyanosh often explores his Iranian roots, his Australian upbringing and the inevitable clash of cultures, ideals and lifestyles between his two worlds.
‘4BAR4’ ft. Stoyan is available worldwide now via Spretbot Syndicate
FOLLOW KIYANOSH
FACEBOOK | INSTAGRAM | SOUNDCLOUD | SPOTIFY | APPLE MUSIC
FORMER AND FOUNDING MEMBER OF
THE HEAD AND THE HEART
EMBARKS ON A NEW MUSICAL JOURNEY
“Songs meant to buoy and reassure” — American Songwriter
“Warm songs elevated by mariachi brass and low-key arrangements” – MOJO
Five years ago when Josiah Johnson took a leave of absence from the acclaimed indie-folk band The Head and the Heart, the question was less where Johnson’s star would take him and more whether his struggles with addiction would end his music career. Like many musicians before him, Johnson turned to drugs to cope with the burnout and anxiety that came with his new life. During the recording of the band’s third album, Johnson left to enter rehab and a journey of healing began.
On his debut solo album Every Feeling on a Loop, out now, lush musical arrangements and harmonies support Johnson’s baritone crooning. At times, the songs sound like prayers. At others, his exuberance feels like the euphoria he’d always sought, this time hard-earned and wiser. He says he feels like a new person making it, charting his journey out of the dark into the wide awake of the morning, using the magic that was his all along.
Standouts include the lead track, “False Alarms,” which sees Johnson moving optimistically through fears and growing pains toward what’s next, punctuated by ecstatic trumpets. On “Woman In A Man’s Life,” over a bed of hypnotic drums and swelling strings, Johnson celebrates his queer identity, kept hidden until recently. “For a long time,” he says, “I held onto a lot of shame around the softness and sensitivity – around the nurturing parts of myself.”
Growing up curious and bright in an insular, conservative community, Johnson says he learned early on to discern which parts of himself were welcome and which were not. Though he felt love in that community, it was a smaller love than what he needed. Now, though, after years of self-study and self-healing, bolstered both by music and the love from friends and family, Johnson is ready to pen the next chapter of his life. First, it starts with Every Feeling on a Loop.
“I’ve learned to love my process,” Johnson says. “I’ve learned to love when I’ve taken the long way and where I get to admit mistakes. Humility and uncertainty are welcome. Being seen for who I am and where I’m at is my priority. And I am exactly where I am supposed to be. The result of that new courage bears out in how I’m able to be a better friend to the people I love. That’s the gift.”
SUPPORT FOR ‘SHOW YA’
“Gliding over the record with invigorating wordplay and rapid flows, leww shines with confidence as he vows his diligent grind is bound to pay off.“
– The Local Frequency (AUS)
Melbourne-based R&B artist leww has just revealed his evocative new single ‘Show Ya’ featuring Sin Santos – produced by SB90 (Illy, Allday, KLP).
Opening with ominous synth bass, tense acoustic guitar plucks and the captivating lead vocals of the artist himself, ‘Show Ya’ swiftly unfolds into an exquisite composition of deftly produced R&B. The track’s bridge introduces the slick bars of Sin Santos, before launching into the anthemic final chorus, satisfyingly bringing the song to a close.
leww talks about the inspiration behind ‘Show Ya’:
“I originally wrote this song on the piano in my bedroom, and as I laid out the chords, I realised I wanted to make it a feel-good motivational song. About a day before I went into the studio with SB90 (Stuart B Productions), I tried playing the chords on an acoustic guitar, and that’s when the main riff was born. The lyrics follow my current feelings about where I am in my career and where I want to go with it.”
leww is the music project of multi-instrumentalist Lewis Townley, a Melbourne-based artist who takes inspiration from artists Juice WRLD, Post Malone and Machine Gun Kelly to create fervent pop music. “I grew up around music, and I was lucky that my Dad was into piano, guitars and music production, so we managed to progressively set up a bit of a home studio and a collection of different guitars and keyboards,” Lewis explains.
“I usually write all my songs acoustically with one instrument, with a vision in my head about drumbeats and different aspects to the mix before I head into the studio. This year I have been busy writing, recording and producing songs, expect plenty of new music in the works” he continues.
‘Show Ya’ is available worldwide now
FOLLOW LEWW
The National Gallery of Victoria has announced the second edition of the landmark, city-wide exhibition, Melbourne NOW, which will be centred at The Ian Potter Centre: NGV Australia in 2023. The exhibition will mark the ten-year anniversary of the inaugural 2013 exhibition which was a bold and unprecedented survey of some of the most exciting local contemporary practitioners. Melbourne NOW will again highlight the latest art, architecture, design and cultural practice shaping the cultural landscape of Melbourne.
The NGV will dedicate an initial $1.5 million commitment to acquire, commission and present new works by local Victorian artists, designers and architects. In a timely announcement, new works by Victorian artists will begin to be actively acquired and commissioned beginning this year and will continue for the next three years, where the works will be premiered as part of the 2023 exhibition.
‘The NGV is delighted to be able to support our local creative community with the second iteration of Melbourne NOW. We know new and significant works will be created by Victorian artists and designers for this exhibition, which will celebrate the vibrancy and diversity of our creative sector,’ said Tony Ellwood AM, Director, National Gallery of Victoria.
“Embraced by Victorians and visitors alike, the original 2013 Melbourne NOW exhibition was a landmark presentation of the most exciting art and design being made in one of the world’s most creative cities. Ten years on, Melbourne NOW 2023 is set to be an equally momentous event, while playing an important role in the post-COVID recovery of our creative sector. Although we’ll need to wait a while to see the exhibition, the NGV will start investing in the work and careers of local artists now – when they need it most,” Minister for Creative Industries Martin Foley.
Celebrating new and ambitious local art and design, Melbourne Now will cross a range of contemporary disciplines including fashion and jewellery, painting, sculpture, architecture, ceramics, video, performance, printmaking and publishing. The exhibition will also mark the second edition of the hugely popular ‘Design Wall’ showcasing work by dozens of the city’s most innovative design practitioners, as well as popular NGV Kids interactive projects.
Bold in scale, Melbourne Now will be displayed throughout all levels of The Ian Potter Centre: NGV Australia, including permanent collection galleries, showcasing new works and commissions by emerging, mid-career and senior practitioners as well as local collectives, many presenting for the first time in Australia’s most visited art gallery.
At the heart of Melbourne Now will be a collaborative approach to the celebration of Melbourne’s artists and designers, working closely with a range of community, cultural and educational partners.
In 2013, the first edition of Melbourne Now delivered a history-making exhibition at the NGV that surveyed the enormous breath of artistic talent in the local community. Marking the first time the NGV exhibited designers alongside visual artists, the exhibition was an overwhelmingly inclusive experience offering free entry to NGV visitors.
Ten years later, the next edition of Melbourne Now will again offer free entry to NGV audiences and be complemented by an extensive public program and an exhibition catalogue providing further insights into unique aspects of the exhibition.
Melbourne Now will take place in early 2023 at NGV Australia with further information to be announced soon.
What is your name and role within Suit of Lights?
My name is Joe Darone. Suit of Lights is the name I’ve recorded under for the last 15 years, with various friends. I write and sing the songs, and play keys.
Where are you currently based?
New York City
What’s been happening recently and how has your Covid experience been so far?
This year I was focused on getting the record out – come hell or high water – but I realized that trying to release an album during a pandemic is a bit absurd, right?
Like, let’s keep this in the proper perspective. It’s not that important in the overall scheme of things.
It’s Suit of Lights 15th anniversary, how does it feel to hit this milestone and how has SOL evolved over the years?
It’s an odd feeling, the records are a kind of cataloguing of ideas and emotions and it’s interesting to look back and see – not everything is pretty! But I’d say the main evolution from the first album to the latest album is the level of sophistication in writing and arrangements.
Your new album ‘Hide and Seek’ is out now, what influenced the sound and songwriting?
Well, the idea is that it’s an album of games. From the birth song “Tag!” to the death song “Ring of Roses” and various adventures and follies in-between. I like adventurous music, so groups like Sparks and Cardiacs are heavy influences.
How did you go about writing the album?
“Hide and Seek” was the first song I wrote, about the nature of existence. It seemed like adventure theme-music, the beginning of something.
I started thinking about the overlap in games we play as both children and adults. Titles like “Rock Paper Scissors” and “Tug of War” were just begging to be written.
Where and when did you record/produce and who with?
I produced the album, and it was recorded in several locations.
We recorded Chris Connors’ guitars, plus bass and horns at Concrete Sound, his studio in Brooklyn. Arun’s guitars were done at Rebirth Music, his studio in Austin, TX. Vocals and keys were done at my place in Hoboken, NJ. and we tracked drums and mixed with Jeff Aderman at Big Blue North in Utica, NY.
Oh, and we have an Australia connection – It was mastered at Surgical Sound in Tasmania by Dr. Timo G. Less!
How did you approach the recording process and what did you find most challenging and rewarding?
I aways start with home demos, which become the foundation to record all the real tracks in the studio, but in the past I was always on a budget and watching the clock, so there were always ideas that didn’t make it onto the album. This time, I bought a Neumann U87ai microphone and a Neve Portico 5017, and I went to town on vocal harmonies, doing my best Beach Boys impression.
What programs/instruments did you use?
The drums were recorded in analog using the CLASP system, which stands for Closed Loop Analog Signal Processor. Basically you’re hitting analog tape in real time. Vocals, guitar, bass, drums, keys, and trumpet were done in Logic Pro X.
The album is available for $1.50, where can we listen/purchase?
Limited edition LP, CD and downloads are at www.suitoflights.com
It’s also available on Apple Music, Amazon, Spotify, Tidal, and YouTube
Who are you listening to at the moment?
New Lemon Twigs album, Weyes Blood, Ruby Roses, and I just discovered a band called A Formal Horse.
What do you like to do away from music?
I’ve actually been catching up on reading. Just read autobiographies by Elvis Costello, Christopher Hitchens and Bob Lazar. I’d like to get back to drawing and painting at some point.
Trevor Dunn, Steve Pedulla, and Jamie Egan have all played on previous albums, how do you decide who you are going to work with and how does the collaborative process usually take place?
It’s usually just by chance. From the beginning, there was no set lineup or anything, Arun and I were splitting up everything between the two of us. Then, we started bringing in some of our friends. I didn’t know Trevor personally, I was just a huge Mr. Bungle fan, so I sent him some demos and he was interested.
Everyone on Hide and Seek has played on previous SOL albums, except the trumpet player David Levy (Norah Jones, Deep Purple), he was a friend of Chris Connors. Oh, and Evan Hooker from Ruby Roses and Arun’s kids Ruby and Hugo sang some backups.
You were in the band The Fiendz, how have you developed as a musician and person since?
Well, the first Fiendz single came out when I was 15. So we were literally growing up in that band, immature and not great with communication. Add in a little bit of success and failure and it eventually became toxic. I’d like to think that I’ve matured in the decades since then.
Musically, I’ve always played by ear so in terms of learning actual music theory, it’s been a very slow process. You can play punk rock drums without knowing any theory, but playing keys kinda forces you into it.
What’s planned for the remainder of 2020 going into 2021?
Our record has just hit radio and debuted at #30 most added on the NACC charts, which is pretty great. I’m really curious to see how COVID plays out in the states, it’s an embarrassing mess and tough to make plans too far ahead.
Favourite food and place to hangout?
I love spicy food! Indian, Nashville hot chicken, and Jamaican Jerk. I have about 20 different hot sauces in my fridge.
I like hanging out in coffee shops.
Listen/Buy: https://suitoflights.com/album/hide-and-seek
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Where are you currently based?
We’re sort of interspersed across the Central Belt of Scotland – from Glasgow to Edinburgh
What is your name and role within Stanley Odd?
I’m Solareye. I rap, record, some production and jump about.
How did you first start playing music?
Sheesht. My Dad had a good record collection and a guitar, so I started mucking about with that when I was about 12 or 13. Got into bands in my teens but was always really into hip-hop and rap so started adding little raps into the songs. That gradually morphed into a live hip-hop group with ma pals that I grew up with. We started touring round Scotland and it sort of grew from there.
How did Stanley Odd form?
Well – me and Veronika Electronika were meant to be playing a DJ/Emcee-type set and the DJ couldn’t make the show. A couple of pals joined us on guitar and drums. That was the organic start of the live hip-hop group. We’re now a six piece – Samson on kit and production, AdMack – bass and synths, Thilo – keys and more synths, Scruff Lee on guitar, Veronika singing and me rapping.
What’s been happening recently and how has your COVID19 experience been up until now?
We were meant to do a small venue UK tour April and May, then festivals for the summer, then a bigger tour and album launch in autumn. None of that transpired. BUT. Instead we finished the record in the first couple of months of lock-down – all recording individually then sending bits back and forth. Samson produced and mixed it. The record is finished and we’re mad happy with it. We’re none releasing a new single and video every six weeks for the rest of the year and putting the album out in March 2021. Change and adapt eh. It’s dead exciting to be able to focus on so many different songs off the record in six-week blocks. And we’re working with a bunch of great folks to make the videos, so every cloud has a silver lining.
Your new single ‘Night Rip’ is out on August 14, 2020, what influenced the sound and songwriting?
‘Night Rip’ is an example of how we’ve approached the whole record this time round. It’s about making music, not even thinking about what style or genre folks might want to box it in. It’s on some dark-pop analogue synth electro with breakbeats vibes – with no raps, which is a first for us. Just Veronika and me in a melancholy duet about breaking up.
How was Night Rip written?
We wrote it in the studio – before lockdown. We’ve been booking 4 or 5-day blocks of studio time and working on a bunch of demo ideas each time – everyone makes beats, instros and ideas them uploads them to DropBox. So we pick a few then develop them in the studio. The guys filled the studio up with analogue synths – Korg MS-20, Roland Juno, SH-101, Moog Sub Phatty, 808s – then start replacing sounds in the demos and building the song.
This one, I remember we’d been working on stuff all day and the band all went out for food quite late at night. Veronika had this line ‘Oh I’m restless, yes I’m restless’ and we stayed at the studio and wrote the story of a moonlight flit – somebody leaving everything behind in the middle of the night, or sort of chasing the daylight of dawn and disappearing. Then we sang it together so that the situation could be that both people in the relationship were feeling the same but not telling the other.
We tracked the drums another day me and Samson. Then Samson produced and mixed it during lockdown.
Where and when did you record, produce and master and who with?
We do everything ourselves. We’ve almost always recorded, mixed and mastered ourselves. I think we’re just too attached to stuff and don’t want to let it go. We have done some great work with other people occasionally but generally prefer to keep it all in house. This record, we tracked a bunch of it together with sometimes everyone actually recording their own parts. Samson mixed it and produced it with production elements again from everyone. It’s funny – because we’re a live band and have such a hip-hop production ethic, we always end up recording, then sampling the recordings and rebuilding them. That kind of lends itself to just getting on and doing it all yirsel.
What programs/instruments you use?
OK
Ableton for ideas, production, development and live stuff. We also use Push for live (sometimes 2 or 3 between us)
Pro Tools for mixing and mastering
Moog Sub Phatty
Microkorg (still!)
Roland Juno-6
Roland SPD-SX
Novation Bass Station
A beat up SM58 or Electro Voice ND967
Fender Tele
Fender/ Musicman basses
Ampeg amps
Korg MS20
What do you like to do away from music?
Make more music.
Sulk about not getting to play live the noo.
Go for a run I suppose.
Who are you listening to at the moment?
For unapologetic DIY pop: Carla J Easton
New production: Dunt, SHEARS
Podcast/ video stream: You Call That Radio
Scottish rap: Spawn Zero, Empress, Steg G & Freestyle Master, CCTV, Shogun, Togo Fam +++
Always: MF Doom, Pharoahe Monch, Aesop Rock
What’s planned for the remainder of 2020?
A new single and video every 6 weeks. Next one – KILLSWITCH – is out 25/09
Favourite food and place to hangout?
Lockdown has been all about get those home cooking skills up. Now we’re making homemade bhuna and naan bread so I feel like I’m all set here thanks.
https://www.facebook.com/stanleyodd
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Annual conference within Moscow Music Week showcase festival will happen on 3rd and 4th of September in partnership with Institute of Musical Initiatives (IMI).
6th year in a row musical industry professionals will gather to discuss the most pressing and sensitive issues, which are common concerns of Russian market representatives: music distribution, digital marketing, streaming platforms management and many more, in the context of this tough year that changed the normal course of things.
Due to pandemic this spring clubs, music spaces and concert halls stopped working. How it affected musicians, industry and listeners? What can venues and musical events expect in future? How did organizers manage to cope with switching to online and is there any future for this format? These and many other questions will be discussed by conference participants within lectures, workshops and discussions with Russian and foreign colleagues. This year’s conference’s leitmotif is digital communications.
Conference program includes such themes like:
• Streaming services in pandemic period: how to find your listener. Opportunities for independent musicians.
• Clubs on lockdown: economics, problems and ethics
• Musician profession: art vs management
• What to do if online concerts will be back? Experience and future of the format in Russia
• I will survive? Or how industry copes with pandemia consequences. European experience. And many more.
Among speakers and curators are managers and art-directors of clubs and concert venues (Dom Pechaty, Tele-Club, Punk Fiction, 16 TONS), festivals organizers (Park Live, SOUND UP, BOL’, Picnic Afishy, Ural Music Night), marketing agencies, streamings and record labels representatives (Effective Records, Yandex.Music, Booking Machine Agency, Future Communications) and of course artists (The Retuses, Intourist, Pasosch, CPBCH).
Main conference partner IMI is a non-commercial organization which develops music industry within the space of Russian-speaking culture. IMI leads a media industry, publishes books for those who are interested in music business, arranges music conferences and showcases in regions. More information at i-m-i.ru and in IMI’s social networks.
Conference partners: Mixmag Russia, Yandex.Music, Moscow Music School, Afisha, ONErpm Russia TuneCore, RMA business school
Detailed conference schedule at MMW website and on conference Facebook page.
Moscow Music Week is 4-days-long showcase festival and conference from 2th to 5th September, with offline and online programs, the only festival format event in 2020 in Moscow.
Musical part will include around 100 artists distributed across 20+ thematic showcases. Once again MMW visitors will be the first to hear musicians, who will become leading voices of the scene in a couple of years.
From dark jazz to emo noise, traditional Caucasian motifs, modern punk, local hip-hop and experimental improvisation. Ionoff Music and BOL’ festival showcases, electronic night program from Dissonance, Quintessence, Oberwave etc.
Full line up includes Lalalar (TUR), CENTR, Hadn Dadn, SOUYZ (BLR), Bad Zu, Zaur Nagoev, Intourist, Lucidvox, Fardi, USSSY, CEO of Everything, Dima Midborn, Wooden Whales, LUTIK, Echo Pamira, Archanga, Hit ’em up, Donatello!, Tundra Art Ensemble, luni ana, Autosport, Vsadniki JKH, Akul’e Slezy and many more.
Open and free online showcase with live streams from Experimental Music Showcase with USSSY and new band called Tvar’, Hungarian Showcase with local scene representatives: Platon Karataev, The Qualitons и Torts from Budapest (with the support of Hungarian Cultural Centre and HOTS (Hungarian Oncoming Tunes) and also stream from Kazan club Werk with participants of club’s community — MITYA and Sveta Luk’yanova (ЯNA). Stream will be available on Youtube and Facebook. Links to the stream will be published n the date of event.
Twin star outfit Cosmo’s Midnight today announce their long-awaited sophomore album Yesteryear, to be released worldwide on October 2 via Black Butter Records.. Celebrating the news, the duo also shares a new remix from Brame & Hamo for their recent album-titled single.
After releasing the psychedelia-infused 70s pop single “Yesteryear” with an iso-inspired film clip back in June, the uplifting track receives a club fit-out for dance heads everywhere. Irish-bred, Berlin-based duo Brame & Hamo put their famed house reputation to task, transporting the single to new darker, melodic and higher-tempo territory.
“Slicing up and vocoding the original vocal performance Brame & Hamo take ‘Yesteryear’ out of the clouds and into the clubs. For us, this remix embodies a post-covid, sweaty warehouse rave with it’s dark, hypnotic blend of trance, breakbeat, techno and electro.”
Cosmo and Pat Liney on the remix
The Yesteryear LP will arrive on October 2, representing a new and self-assured chapter for the Sydney-based duo who have spent years honing their sonic identity to become a confident live project of intelligent design and feel. From their bedrooms many years ago, to studios and sold-out stages across the world today, Cosmo’s Midnight have keenly enveloped an essence of timelessness within their sound, soon to be heard on their second album. Having excelled in their lane as songwriters and producers, the pair have fed their curiosity to master a sophisticated blend of disco, funk, psychedelic, soul, hip-hop and pop influences in their output while retaining clear-cut melodic progressions and ideas that stick around long after the record ends, often reflected back in their worldwide following and loyal fanbase. Familiar faces Ruel, Matthew Young and Age.Sex.Location are among the tracklist’s artist collaborations, topped off with a special appearance from Wollongong’s Stevan.
“Our second album is more or less summed up in the title track ‘Yesteryear’. It’s about reflecting on the past with not only nostalgia but also an element of melancholia ~ all the formative experiences that we absorb growing up both good and bad. It’s an album inspired by personal growth, looking back on these experiences, learning from them and moving forward with optimism. Stylistically we have always looked back to genres our parents introduced to us growing up; disco, funk, psychedelia, alt-pop of the 70s and 80s. In ‘Yesteryear’ we have homed in on that, moving away from overly produced sounds to more organic instrumentation, focused on feeling rather than thinking.”
Cosmo’s Midnight
In 2020, Cosmo’s Midnight continue to hold their reputation as one of Australia’s best loved duos in left-field sound. Their debut in triple j’s Hottest 100 countdown with their gold-certified single “C.U.D.I (Can U Dig It)”, was followed by the release of “Down For You” with global pop phenomenon Ruel, seeing over 16 million online streams/views to date alongside a live debut at Sydney’s Laneway Festival. The arrival of “Yesteryear” kept the momentum strong, placing the duo on the cover of Spotify’s The Local List playlist and receiving acclaim from the likes of NME and Rolling Stone Australia. Previously, the pair have shined in performances at Splendour in the Grass, Australia-wide festival tours of St. Jerome’s Laneway Festival and Listen Out, and sold-out headline shows in the US, Asia and major Australian venues on national tours. In 2018, their widely-appraised, debut triple j Feature Album What Comes Next put gold-certified favourites “History”, “Talk To Me” and “Get To Know” out into the world, kickstarting a meteoric rise that hasn’t slowed down since.
As Cosmo’s Midnight continue their trajectory of fearless exploration and reserved sophistication in 2020, turn up the dial on a new remix of “Yesteryear” today ahead of their sophomore album in October, promising some of their most exciting work yet.
Cosmo’s Midnight ‘Yesteryear’ will be available Friday 2nd October via Black Butter Records
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ADESSO MUSIC
JUNIOR JACK & PAT BDS – ‘KLIMAX’
OUT NOW
Remaining one of Italy’s premiere House music exports Junior Jack’s achievements are multitude, as a producer, he’s created some of the best House records of the early 2000s becoming a big star and major contributor to the sound and style of the time. Since then he has been a prolific and varied producer, continuing to release tracks, diversifying his sound, always with his ear to the underground and creating many early morning dancefloor moments.
He now comes to us with a strictly for the club release in partnership with friend and fellow producer Pat BDS. They have their own Adesso Music imprint to which they can release those tracks which are firmly aimed at the darker and techier side of dance music. Make no mistake this is a label that specialises in a tougher rawer sound.
With previous releases which include the 2019 debut ‘Flash’ and 2020’s ‘Tecky Dream’ they now release ‘Klimax’. A three-part package that includes the Original, JJ Rework and Alex 47 Remix.
With three different flavours that are all aimed at the dancefloor, the Klimax Original brings about a feeling of 4 am in a club and a perfect rolling techno track. Subtle beats and percussion build into a momentous track full of warm bass and energy.
The ‘JJ Rework’ is techy deep and driving – with bright synth stabs and an underlying underground dark feel. Atmospheric, with gentle and rolling builds.
Meanwhile, the ‘Alex 47 Remix’ is bursting with deep and warm bass and tension building drops – this is instrumental and deep techno at its finest. A track that slowly builds around a hypnotic beat.
Further remixes to follow from Darius Syrossian and Patrice Baumel complete the package.
Junior Jack & Pat BDS ‘Klimax’ is out now on Adesso Music
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