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ABOUT HANDS LIKE HOUSES EP:
Hands Likes Houses have spent over a decade defying expectations and challenging boundaries, staking their claim as one of Australia’s most acclaimed modern rock exports. With ARIA success, a triple j feature album, multiple sold out tours and legions of global fans under their belt, the band are poised to break even more ground as they step into this new decade.
Collisions, resolutions, communication and expression heavily inform the themes found on the EP, taking listeners on a deep-dive into its whirlwind writing and recording process – scars and all.
Unlike their lauded 2018 album -Anon. – created over weeks of cruisy LA writing sessions – Trenton explains that the EP’s creation took place over a tightly condensed 10 day period. Recent single ‘Space’ finds the five-piece literally grappling with emotional and spatial tension in the less-than-ideal recording environment, meanwhile EP closer ‘Wired’ finds Trenton reconciling with his own communication barriers. With its chorus catch cry of ‘Maybe I’m burned out, maybe I’m just tired… weighed down by the way I’m wired”, ‘Wired’ finds the vocalist dealing with the exhaustion of feeling constantly misunderstood.
But though colliding creativity in an intense recording environment is the story of how this EP came to life, Hands Like Houses assert that the experience has birthed their most personally raw and uninhibited work yet. Musically, it takes everything the group have become known for over their 10+ years of recording, pulses it together and births their next step forward – a gritty, bold and rock-fuelled effort that is undoubtedly their most refined to date.
The release’s collective artworks continue on the theme of expression, capturing an alternative form of communication familiar to many – AUSLAN. Though the band clarify that they don’t have personal experience using the language, they are committed to encouraging appreciation and learning of the language among their fans. In addition, the band wanted to pay a special homage to AUSLAN interpreters who have been thrust into the media spotlight through extensive bushfire and COVID-19 coverage of late.
Hands Like Houses will release their self-titled EP on Friday October 23.
CLICK BELOW TO PRE-SAVE THE EP
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HANDS LIKE HOUSES
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After recording their debut album (Under the Cold Light of the Moon) at Abbey Road Studios last year, Sydney-based Dream Rock band Crystal Cities decided to try out an entirely different approach for their upcoming second LP, Hold Me Close Hold Me Tight. This time there was no fancy studio or producer, but just the combined effort of the three individual band members.
At the beginning of 2020, lead singer/guitarist and primary songwriter, Geoff Rana decided to take it upon himself to learn all the ins and outs of recording. With the help of free educational resources such as YouTube, Rana began putting the information he learned to good use, applying it as he tracked the band’s second album at this house in Sydney. It was a ‘learn on the job’ type of process for Rana who’s skills developed exponentially as the band worked through the entire 10 song tracklist.
“’Don’t Speak Too Soon’ is my first attempt at being an engineer and producer. It was a lot more involved than just showing up to the studio to record my parts! I think more hours were spent reading and watching tutorials than actually recording.”
The added responsibility and learning curve almost overwhelmed Rana.
“One of the biggest mental and technical hurdles I had to overcome was losing all my vocal takes and having to re-record them all over again.”
‘Don’t Speak Too Soon’ was the first song Rana tracked for the band. It also happens to be the first single from the album.
With the helping hand of world-renowned LA-based mix engineer Paul Lani (David Bowie, Prince, Megadeath), Rana and co have dealt fans a sharper and more hard-hitting Crystal Cities sound while still maintaining the signature Dream Rock elements that they established in their 2019 debut, Under the Cold Light of the Moon.
The band saw a lot of success in 2019: a sold out show at The Newsagency in Sydney, a #14 debut on the FMQB SubModern Albums Chart in the US, and glowing album reviews from The Rockpit, KTSW 89.9, and Portland Radio Project 99.1. The album was even declared the “Best Album of 2019” by music blog Indie Pop-Ups.
Title track and lead single from their debut album, “Under the Cold of the Moon” also fared well, receiving airplay on Double j, Triple Unearthed, and Triple M as well as being credited as the 10th best track of 2019 according to Eclectic Music Lover.
“Very solid offering from Crystal Cities. Sharp songwriting and arrangement.”
– Max Quinn (Triple j)
“Beyond the single’s lyrics and message, it’s something of an exquisite listen, with the lush orchestral flourishes and expressive guitar work combining well.”
– Simon Clark (The AU Review)
Crystal Cities are Geoff Rana (vocals/guitar/keys), Jared King (bass/backing vocals), and Daniel Conte (drums/percussion)
STREAM ‘DON’T SPEAK TOO SOON’ HERE: https://bit.ly/CrystalCities_
“Don’t Speak Too Soon” will be available on all digital platforms 21st August 2020
The single is taken from the band’s second album Hold Me Close Hold Me Tight which is yet to receive an official release date
SOCIALS
Website – Facebook – Instagram – Twitter – Spotify – YouTube – Apple Music – Soundcloud – Triple j Unearthed – Bandcamp
Resident Advisor // Twitter // Facebook // Soundcloud
Following up on Sir Winston’s most recent single ‘Hollywood Hills’ (100K + streams to date), My Girl is the first of several remixes of the track to be released over the coming months.
Hollywood Hills – My Girl remix out now is a punchy clever twist on the original track. Maintaining all the dark, chaotic & intense moments of the single, the remix provides its own journey with deep bass, fat UK Garage beats and a spooky hypnotic synth breakdown that delivers an even creepier adventure.
Sir Winston worked with studio master Abe Seiferth (Car Seat Headrest) again on the remix and they smashed it out at Transmitter Studios in Greenpoint New York. “I love remixing my own tracks – it’s so much fun. Things flowed fast when we went at this – the parts in the original are very intense and we wanted to keep them up front and within their own space. The song tells a story with the lyrics so keeping the integrity of the vocals was important too. We kept the pressure on with a smacking beat and once we dropped the trippy synth part in and pushed the guitar riff we thought: Yassss! This is hectic AF and super creepy” – Sir Winston
Fans of Jamie XX and LCD Sound System will love this carefully crafted remake of a track that has garnered much attention since its release a few weeks ago.
PRAISE FOR HOLLYWOOD HILLS
“it’s with this latest endeavour that we sneak another glimpse into the genre fluidity Sir Winston embodies; part psych indie lord, part dance wunderkind, and an artist truly geared to demanding substantial sonic attention.” – The Soundcheck Review
“‘Hollywood Hills’ uses its swaggering, LCD Soundsystem-esque synth-punk as a backdrop to tell a cautionary tale about the darker side of hedonism” – Music Feeds
“a digital punch in the face” – The Backbeat Podcast
“Sir Winston did not disappoint with this appealing new track that has a brilliant combination of drums and vocals and blends indie vibes with psych rock.” – Temporary Dreamer
““Hollywood Hills” has an urgent frantic feeling to it, bluesy, rasping and howling.”
– The AU Review
“With charging beats, Sir Winston’s new tune serves as a follow-up to his 2019 single ‘Everybody Must Dance’, which simply proves how well he can get all of us quickly on our feet and dancing.” – Tone Deaf
“Sir Winston has a really unique sound and is loved by some big names in the creative world” – AAA Backstage
‘Hollywood Hills’ My Girl remix is out now!
Website | Facebook | Triple J Unearthed | Instagram
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Two local powerhouses Josh Teskey (lead singer, The Teskey Brothers) and Ash Grunwald have teamed up for Push The Blues Away – an album born out of a mutual love for the blues and a genuine appreciation for each other’s talents. The album will be released through Ivy League Records on Friday 13 November on 180g, cream-coloured vinyl, CD digipak and all digital services. To celebrate, the first single ‘Thinking ‘Bout Myself’ is out everywhere today, following its debut via an incredible performance on last night’s episode of ABC’S The Sound.
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This will be Gated Community’s second single of the year, this comes after the duo’s debut single “Knew It” which released in March of this year.
Gated Community is an up and coming Australasian hip-hop duo. The duo consists of Auckland, NZ’s Jordan Lindsay and Melbourne, AU’s Billy Reeves. Both originating from the same area of Auckland, New Zealand. “Lay Low and Snitch” is a trap and electronic infused banger full of witty, humorous word play and punch lines, notably poking fun at the legal situation surrounding Tekashi 6ix9ine within the hook of the song.
“Lay Low and Snitch” is available everywhere
Follow Gated Community:
https://soundcloud.com/gated-community/
https://www.instagram.com/gatedfuckingcommunity/
https://www.triplejunearthed.com/artist/gated-community
https://open.spotify.com/artist/1hzUpMaoL60V9qeZ2AEbCF?si=qAbzSzYgRrSlqH05kueLOg
“His style evokes uncovered recordings from an obscure spiritual retreat, ones that make you believe something transcendent was near when they were made.” – The Fader
“Yves Jarvis hides beautifully soul-bearing sentiments just beneath his veneer of blurry tape manipulation and impressionistic production.” – All Music Guide
Montreal’s Yves Jarvis is announcing his third album today, titled Sundry Rock Song Stock. The album will be released digitally on September 25 and on vinyl on November 13. Filmed at the Tree Museum in Gravenhurst, Ontario, watch Yves perform under the trees in the video for new single “For Props” HERE.
Speaking to the track’s meaning, Jarvis says: “What does it mean to earn a fortune? I’ve demonised people who can’t empathise and can’t reciprocate, because that’s how it feels. I’m just playing a role there. On the other side, everybody is pandering for props, even the good ones. That disgusts me, but I don’t want to criticise it in the real world. I just want to criticise it in a song. I see people going back and forth arguing and it seems like a nightmare to me. You have to listen to my music if you want to know what I think about anything.”
On Sundry Rock Song Stock, Yves Jarvis continues to refine his creative approach to the core of his being, where music and life intertwine in harmonious fashion. His latest album fuses genre elements into a symbiotic relationship where wistful folk, tender R&B, pastoral prog, and musique concrète experiments feed into one another to grow lush new forms. Though he maintains an air of mystery with his lyrics, Jarvis’s whisper-soft words can be interpreted as both deeply personal and politically motivated in ways we haven’t heard from him before.
Since his earliest home recordings, Jarvis has taken a Sun Ra inspired attitude with windows left wide open so every sound that filters into his songs becomes part of them. However, he also approached this album with a newfound sense of intention, drawing on the meticulous methods of progressive rock groups King Crimson and Yes, whose epic compositions conjure the vast landscapes of the British countryside. “Their music is not really songwriting,” says Jarvis. “It’s cycling motifs and vignettes. I think of it like a room that you can walk into and then out of.”
Resuming the practice of color theory that informed his 2017 album Good Will Come To You (morning yellow optimism) and 2019’s The Same But By Different Means (midnight blue contemplation), Sundry Rock Song Stock is infused with the natural state of green. As Jarvis explains, it’s the color he most closely connects to his personality, moving beyond an aesthetic attraction into feelings of wildness, boundless energy, and an anti-establishment streak permeating his 23 years on the planet.
“I experienced a musical breakthrough with that bright, easy sound of my last two albums,” says Jarvis. “It felt good to make at the time, but it counters my essence. People think I’m calm, but I’m very not calm, and I’m happy to elaborate on it now. This album came together exceptionally easy in reaction to that nighttime shit. This green is epitomised. This album is reduced.”
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After the success of ‘I Can’t Wait’ early summer, DROELOE now returns with the long-awaited masterpiece ‘Open Blinds’, which is out now on bitbird. The part music and part art project DROELOE, are known for perfectly combining stunning visuals and sonic sounds, taking the emotive experience of dance music to another level.
Following DROELOE’s usual approach, this track again has a deeper meaning to it and symbolizes the pressure one can feel throughout the day. This is perfectly mirrored by a calming yet heart racing intro featuring melancholic vocals, immediately setting the tone for ‘Open Blinds’. Unique sounds accompanied by a clean baseline and a timid snare roll seemingly make way for a minimal break, succeeded by a bolder rise and an euphoric drop. Distorted vocal chords take a leading role as the energetic drop progresses and fills up with electronic samples and triumphant horns. At 90 BPM,‘Open Blinds’ perfectly lines up with an excited heart rate and proves once again that DROELOE’s creations go beyond music.
Producer/composer Vincent Rooijers shares, “Open Blinds is about the pressure that life naturally has (especially in the morning) and how a fear of not being productive enough or a feeling of not spending your time right, can only be solved by basking in those emotions. This track is a continuation of ‘The Choices We Face’ and serves as a form of affirmation to choose to spend my time with what feels right without worrying too much about what could have been.”
To some DROELOE is known for its outspoken remixes for the likes of Charlie Puth and Selena Gomez along with collaborations with San Holo and Zeds Dead. To others, the project is known for its one of a kind and praised audio-visual craft.
‘Open Blinds’ is out now on bitbird!
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Frankie Knuckles Day on Tuesday 25th August
Commemorative livestream to broadcast from 12pm – 9pm (CST)
Feat: Eric Kupper, Simon Marlin (The Shapeshifters), Lady D, Mike Dunn, Zac Jones.
Plus, special performance by Emmy, Grammy and Tony winner Billy Porter + House Gospel Music Choir of London.
SOSURE MUSIC
FRANKIE KNUCKLES
‘THE WHISTLE SONG’ (ERIC KUPPER SOUND FACTORY RE-RUB)
OUT NOW
Each year, 25th August marks Frankie Knuckles Day and to celebrate the occasion and the unquestionable history of this classic cut, Eric Kupper himself via Hysteria and in collaboration with the Frankie Knuckles Foundation and SoSure Music, has reproduced and remastered the original demo mix that he handed to Frankie on tape in a studio session all those years ago, for a special one-sided release.
Friends, production partners and long-time writing collaborators for over 25 years, Eric Kupper and Frankie Knuckles built a rare and once-in-a-lifetime bond that few can claim to hold.
“The then untitled Whistle Song was originally mixed to cassette. I had heard Frankie play at the Def Mix 5th anniversary party at the Redzone, and his set truly inspired me. Within a few days I went into the studio and in about 20-30 minutes, wrote and recorded this version. I slipped the cassette to Frankie, who transferred it to reel-to-reel tape, and played it at the Sound Factory. Still untitled, it became instantly popular, and people came up to the DJ booth asking, “what is that whistle song you’ve been playing?” So, it was named by the people on the dance floor at the Sound Factory. I then recreated the mix to DAT tape, and that tape is where the original master came from.
This is the classic version that I’ve heard most DJ’s play, besides the newer Director’s Cut version. They must have ripped from the original vinyl or CD single. I felt it was important to have this released again, on vinyl and for the first time in a modern digital format (downloads and streaming). I also felt it could use a sonic update, so I created an entire reproduction, from the ground up.” – Eric Kupper
From that inspired recording session almost 30 years ago and that very original demo cassette, ‘The Whistle Song’ has proved to be an enduring and essential underground anthem that captures the very essence of house music – a track that is still revered and relevant to this very day.
A portion of the proceeds from this release will go to the The Frankie Knuckles Foundation (FKF) a not for profit educational and cultural organisation dedicated to the advancement of Knuckle’s ideals to support Music in schools, LGBTQIA+, Youth Homelessness, AIDS research and prevention of Diabetes research. They will also host a special commemorative livestream on Aug 25th.
It will feature Eric Kupper, Simon Marlin (The Shapeshifters), Lady D, Mike Dunn, Zac Jones.
Plus, special performance by Emmy, Grammy and Tony winner Billy Porter + House Gospel Music Choir of London.
It will be broadcast live from 12pm-9pm (CST) on Nocturne Chicago Live (YouTube and Twitch) http://nocturne-chicago.com
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After the immense success of over 3.5 million streams on his debut track ‘Voyage, Voyage’ with Imanbek, DUBOSS now releases the stunning video of the hit single. The feel-good video celebrates the art of traveling. The footage was all shot in Singapore, to showcase the beauty and different environments that one place has to offer.
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DOM DOLLA AUSTRALIAN TOUR 2020
Tickets on sale now: http://bit.ly/DOMDOLLA2020
Thursday 22nd October – Thebarton Theatre, Adelaide | 18+
Friday 23rd October – Centenary Warehouse, Perth | 18+
Thursday 29th October – Fortitude Music Hall, Brisbane | 18+ SOLD OUT
Saturday 31st October – Hordern Pavilion, Sydney | 18+ SOLD OUT
SONNY FODERA X DOM DOLLA US TOUR
Tickets on sale now: https://sonnyxdom.com/
Thursday 5th November – Concord Music Hall, Chicago IL | 18+
Friday 6th November – Secret Warehouse, Brooklyn NY | 19+
Saturday 7th November – Big Night Live, Boston MA | 21+