To say 2019 was a stellar year for the quietly spoken music icon Archie Roach would be a massive understatement – and it’s set to continue in 2020 as Archie Roach presents his next single and the title track from Tell Me Why.
Archie released his critically acclaimed memoir Tell Me Why and the companion album of the same name in November, and after more than four decades of song writing and recording, Tell Me Why gave Archie his first ever ARIA top – 10 album debut, when it rocketed into the charts at #7.
This weekend finds Archie in Canberra for the announcement of the 2020 Australian Of The Year, and as Victoria’s nominee he adds to an extraordinarily long list of accolades including a Member of The Order of Australia (AM), a Human Rights Achievement Awards, five ARIA Awards, and an APRA Lifetime Achievement Award.
Talking about his Australian Of The Year nomination on ABC TV’s News Breakfast this morning (and in a broader profile interview on The Project to air this evening) Archie speaks of the critical importance of keeping safe and protecting Australia’s rich heritage.
Tonight sees Archie present Tell Me Why with album producer Paul Grabowsky and a first class ensemble of musicians at the prestigious City Recital Hall, as part of Sydney Festival. A national capital city tour for May-August is soon to be announced.
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With an extensive history, including multi platinum sales globally, ARIA, Grammy & other award nods too numerous to mention, Wolfmother released album number 4, ‘Victorious’ in 2016 to rave reviews & enthusiastic international response resulting extensive world tours including forthcoming major European dates.
Led by vocalist/guitarist Andrew Stockdale, Wolfmother have amassed an international fanbase, played to sold out crowds around the world, delivered show-stealing sets at star-studded festivals including Coachella, Lollapalooza, Reading, Rock In Rio, Download & more, and have been invited to share stages with rock icons Aerosmith,AC/DC, Guns N Roses & many more – including performing by personal invitation for Led Zeppelin’s induction into the UK Music Hall of Fame! Recently Wolfmother also graced the stages of major Australian Festivals, Splendour In The Grass, Scene & Heard and Falls.
Wolfmother recently announced the release of a new album ‘Rock N Roll Baby’ now available via all digital platforms – which includes the lead track ‘Rock N Roll Survivor’. Wolfmother also recently released the single ‘Chase The Feeling’ featuring Jet’s Chris Cester which has scored rotation on major radio stations nationwide. Alongside of current event and festival dates in Australia & New Zealand, Wolfmother have just announced 3 new shows for fans at The Gov Adelaide, The Corner Melbourne and Triffid Brisbane with all shows selling fast! Full details below:
TOUR DATES
Fri Jan 24 – Rock The Swamp, Palmerston North, NZ
Sat Jan 25 – Bay Of Island Festival, Waitangi NZ
Thu Jan 30 – The Gov, Adelaide SA
Fri Jan 31 – Corner Hotel, Melbourne VIC
Sat Feb 01 – Twilight At Taronga Zoo Concert Series, Sydney NSW
Sun Feb 02 – The Triffid, Brisbane QLD
Thu Feb 06 – Freo Social, Perth WA
Fri Feb 07 – Hillary’s Nth Perth WA
Sat Feb 08 – Sugarloaf Rock Festival, Metricup (Margaret River) WA
Tickets available from http://www.wolfmother.com/
Visit Wolfmother:
FACEBOOK – https://www.facebook.com/
INSTAGRAM – https://www.instagram.com/
TWITTER – https://twitter.com/wolfmother
![It has been a whirlwind January for HAWA. First, she closed Telfar’s Pitti Uomo fashion show in Florence performing atop an ornate table above Solange, Kelela and Juliana Huxtable, followed by a performance that grabbed Vogue’s attention at Gap x Telfar’s event in Paris and now she announces her debut EP. the ONE will be released on March 5 via b4 / Remote Control. The EP includes previously released single 'MY LOVE' and is produced by Tony Seltzer with beats from Cadenza, Kashaka & Oscar Key Sung. HAWA also shares new single 'IPHONE' today, a melancholic Hip Hop call for romantic ceasefire where clarity in a relationship is sought, circling back to the EP’s title. HAWA says of the new track,““IPHONE” is about a person trying to do everything right by the one they’re in love with, but still feeling like that person is never fully satisfied. It seems like they’re losing their love. Is the only reason why they’re staying is because they’re used to it?” Pitchfork says HAWA’s strong, direct “sing-rap delivery stand[s] out in a crowded New York scene” and her tracks have received praise everywhere from FADER to Dazed to Pigeons & Planes. Although HAWA’s first-ever song was released just over a year ago and she graduated from high school this past spring, the 19-year-old has already lived many lives. Born in Berlin to West African parents and raised in New York City, as a pre-teen HAWA was one of the youngest-ever composers for the New York Philharmonic Orchestra, with whom she toured the world. But soon HAWA’s insatiable creativity became stifled by the classical world’s stuffy limitations so she broke out. the ONE is released on b4, a future-facing label launched in 2018 that serves as a home for tomorrow’s most relevant artists. The music on b4 is a reflection of the genre-smashing landscape, where prior categories no longer apply. This is b4’s first-ever EP release. HAWA - the ONE EP 1. INTRO 2. AROUND ME 3. MY LOVE 4. FRICK 5. OFF 6. AND GET FAMOUS 7. IPHONE 8. OUTRO HAWA - the One EP is out March 5 via b4 / Remote Control. b4 website | instagram | facebook | twitter HAWA instagram](https://thepartae.com/wp-content/uploads/2020/01/Hawa-1170x1170.jpg "Hawa")
It has been a whirlwind January for HAWA. First, she closed Telfar’s Pitti Uomo fashion show in Florence performing atop an ornate table above Solange, Kelela and Juliana Huxtable, followed by a performance that grabbed Vogue’s attention at Gap x Telfar’s event in Paris and now she announces her debut EP. the ONE will be released on March 5 via b4 / Remote Control.
The EP includes previously released single ‘MY LOVE’ and is produced by Tony Seltzer with beats from Cadenza, Kashaka & Oscar Key Sung. HAWA also shares new single ‘IPHONE’ today, a melancholic Hip Hop call for romantic ceasefire where clarity in a relationship is sought, circling back to the EP’s title.
HAWA says of the new track,““IPHONE” is about a person trying to do everything right by the one they’re in love with, but still feeling like that person is never fully satisfied. It seems like they’re losing their love. Is the only reason why they’re staying is because they’re used to it?”
Pitchfork says HAWA’s strong, direct “sing-rap delivery stand[s] out in a crowded New York scene” and her tracks have received praise everywhere from FADER to Dazed to Pigeons & Planes. Although HAWA’s first-ever song was released just over a year ago and she graduated from high school this past spring, the 19-year-old has already lived many lives. Born in Berlin to West African parents and raised in New York City, as a pre-teen HAWA was one of the youngest-ever composers for the New York Philharmonic Orchestra, with whom she toured the world. But soon HAWA’s insatiable creativity became stifled by the classical world’s stuffy limitations so she broke out.
the ONE is released on b4, a future-facing label launched in 2018 that serves as a home for tomorrow’s most relevant artists. The music on b4 is a reflection of the genre-smashing landscape, where prior categories no longer apply. This is b4’s first-ever EP release.
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Tour Dates
Friday 6th March: Pitch Music & Arts, Moyston
Saturday 7th March: FourFour, Adelaide
Sunday 8th March: Baker’s Lane, Launceston
Friday 13th March: The Bottom End, Melbourne
Sunday 15th March: Warehouse TBC, Perth
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Canadian singer/songwriter Tanya Ryan is thrilled to announce this week’s release of her new single and music video, “My Heart Song”.
“My Heart Song” – Ryan’s inspirational self-love ballad, which is produced by Mark Troyer – is the lead single from her new album, Open, coming February 20th.
The first new single release since her Top 3 finish in 2017’s Project WILD Artist Development Project, “My Heart Song” follows a period of deep transformation for the Okotoks, Alberta native.
“I went through a period of depression in which I felt really lost and isolated. This song came from the smallest voice that reminded me there is a force greater than ourselves that can support and guide us if we choose to reach for it. It was the final song written for Open, and I chose to release it as the first single because it is the most vulnerable and real. My intention moving forward in life and in music is to be entirely transparent. This was the most honest first step,” says Ryan.
Ryan’s new music marks an artistic shift as well. Known for her country sound on her 2014 EP Simple As That and at many live shows like the Calgary Stampede and the Big Valley Jamboree, the CCMA Discovery alumnus and ACMA-nominated artist has adopted a “country crossover” style for Open that also integrates roots and pop elements.
Joining “My Heart Song” on the album are five other tracks written by Ryan: the empowering life fulfilment anthem “Almost Famous”, the assertive love ballad “I Want You” (co-written with Steve Mitchell in Nashville), the unapologetic tongue-in-cheek pop-funk track “So. Damn. Good”, the contemplative ballad of relationship exploration “Love Like That”, and “Dimes” – a heartfelt ballad about a late mother’s wishes on her son’s wedding day.
Ultimately for Ryan, Open is an authentic expression and exploration of love in its many forms.
The soon-to-be mom says, “In my own life, I wanted to understand the expressions, facets, and nuances of love – love observed by a romantic partner, sexual love, mother’s love, self-love, and a love of one’s ambitious pursuits. This album represents my own understanding of love.”
Tanya Ryan will support these releases with several Canadian shows in Alberta.
Facebook: @TanyaRyanxo
Instagram: @TanyaRyanxo
Twitter: @TanyaRyanxo
YouTube: @TanyaRyanMusic
Spotify: HyperURL.co/phtkwl
What’s been happening recently?
In between shows and our usual day to day lives, we’ve been hard at work behind the scenes preparing for a multitude of things, this single being one of them. We’re all keen to rip into 2020 and releasing this single is just the beginning for us.
Your new single ‘Wherever You Go’ is out on the 24th of Jan 2020, what influenced the sound and songwriting for this track?
I think Will was listening to a fair bit of ‘Royal Blood’ at the time he wrote ‘Wherever You Go’, and that’s where the big bass and lack of guitar in the verses came from.
In terms of drums, I think the idea was really just, “keep it simple, keep it tight”, and that definitely worked for me. The bass and drum combo in the verses is what hooked me when I heard the first mix, and it still does whenever I hear it today.
How did you go about writing Wherever You Go?
This track kinda fell together pretty quick, I seem to recall. Once we had established the basic structure of the verse, everything else just flowed on and clicked together. We definitely spent a bit of time fine tuning the details, but for us ‘Wherever You Go’ was really easy to connect with, and we had no problems laying it down.
Where and when did you record/produce?
‘Wherever You Go’ was recorded with a bunch of other tracks, including our last single ‘Too Much’, in May 2019. We all spent a few days at the local ‘Housefox Studios’, and took our time getting everything sounding just right for these tracks, and we’re quite proud of how they all turned out.
Who did you work with during the recording/production process?
As usual, the three of us bounced ideas off one another until we found the perfect mix to suit the song, but a big influence for us was Lachlan West. He helped us out majorly for our first two EP’s, and we didn’t want anyone else to be behind the desk when we walked into the studio this time around. He has an insane amount of knowledge and skills with all the equipment, and also its just a bonus that he’s an awesome as fuck drummer and mad legend.
How did you approach the recording for this single?
As I mentioned before, we recorded a few other tracks in the same session at the studio, but we made sure we weren’t biting off more than we could chew. We took our time setting up, and made sure every little detail sounded perfect before moving onto the next thing. Being a relatively straight forward song drumming-wise, it was a pretty simple process to lay down the track and then spend a bit more time focussing on the guitars, vocals and all the other little things.
What programs/instruments did you use?
The drums on the track are played on a custom kit, based off a Pearl Reference Pure, and a variety of tasty sounding cymbals from Zildjian, Bosphorus and Meinl. We messed around with a few different sizes of snares and toms, but we ultimately landed on the usual 14 inch snare and I couldn’t be happier with how it turned out.
In terms of production, Lachy is the production wizard, so the ball is very much in his court. All that stuff doesn’t really make sense to me, I think he uses Protools.
Who are you listening to at the moment?
For the last few weeks I’ve had ‘The Vanns’ on repeat non-stop, especially their ‘Through The Wall’ album. I really cant seem to get enough of it, which is the best feeling to me. If I haven’t been listing to that, then I’ve been blasting some ‘Middle Kids’ as well which is always a safe bet.
What is the average day like for you?
For me, most days consist of work until about 4pm. I manage to listen to quite a bit of music while I’m there so I’ve always got my ear out for what’s on the radio/what’s up next on the playlist. After work is usually a quick swim at the beach and/or a bit of time playing drums. I try and get behind the kit every few days, and recently I’ve been investing a bit more time in my technique, instead of just thrashing away like a maniac. If its not one of those things, I usually hang out with Will and Dan for a few hours and we just chill out, have a few drinks and have a laugh.
Do you collaborate with other musicians?
As a band we haven’t collaborated with anyone yet, or that I know of. However if any opportunity of the sort came about, I would be keen to pursue it and see where it takes us.
Have you ever dealt with performance anxiety?
Yeah for sure. I cant speak for everyone when I say this, but I’m sure most performers have had some wobbly knees before a show or two, I think its just natural. Obviously as time goes on and you become more comfortable doing what you’re doing, the nerves will go away. But I have definitely been anxious before a big gig, but they’re the nights that tend to be the best shows we play, so its always worth it.
Any advice for aspiring musicians?
Persevere! It sounds simple but it really is important. We’d all love to play our music and “make it” overnight. But the reality is that rarely happens in this day and age. However, if you’re good at what you do and you continue to put the effort into your practice/gigs/recording then you will 100% start seeing some results, you’ve just got to persist.
What’s planned for 2020?
A whole bunch of stuff, to put it simply.
Without revealing too much, I can safely say you will hear more new tunes, and you will see us playing more shows around the country and locally.
Stay tuned, we’ve got some cool stuff coming.
“Festivalgoers can dance from dusk until dawn, journey through immersive environments, take a dip in the serene lake, indulge in delicious eats from craft vendors, or hit reset with a meditative sound bath or expert-led yoga class.” said Brett Herman Co-Founder and Managing Director at BangOn!NYC. “Over the past four years we’ve delivered big surprises and created unforgettable, transformative memories for our festival family, and 2020 won’t disappoint.”
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Music for tastemakers. Featuring all of tomorrow’s relevant electronic and crossover music today.
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Immersive stages. Featuring engrossing environments composed of 4 main (Earth, Air, Fire, Water) stags along with dozens of community produced stages .
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Larger than life art. Featuring dozens of large-scale art installations spanning from live performances to multi-sensory interactive experiences.
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The ideal destination. Accessible destination for all major metro areas in the Northeast.
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Diverse scenery. From expansive beachfront to an enchanted forest to rolling hills, every summer activity is within reach inside our 100 acres of diverse landscape.
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Special programming. A packed schedule of risque programs and playful workshops.
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A reconfigured campground. Sprawling villages that consist of a variety of tents and makeshift homes that bring to life a small world.
MEAGAN HAMILTON
YOKOO
The multi-day camping festival takes place at a picturesque venue in Northeast Pennsylvania (US), 2.5 hours from NYC. We have an exclusive long-term lease on a prime property that features a private lake, rolling hills, and a magical forest. The event features three days and nights of dance and crossover music, large-scale art installations, interactive performances, a pirate ship, 3D video projection
You’ve had a gnarly 12 months, what’s happened and what’s been happening?
Its been crazy! 2019 was hectic – I think I played about 200 shows 😮
I released an EP and a single with Zoe Badwi, and I did a tour around Bali, Fiji and Oz the last two months of 2019! It was hectic.
Where are you at the moment?
Currently I’m in Tasmania! Playing a show in Burnie Oz Day Eve! My new single just got released! YEEHAW!
We’re frothin on your new single ‘Take It In’ what influenced the sound and songwriting?
Thanks man! Im super proud of it! About a year ago I stumbled across this dude Max Glyde. Absolute freak. The moment I heard is shit I wanted to make something with him. 12 months later we have a single and about 7 beats stacked up! I think his classy feel and my funk work super well together!
Where and how did you go about writing/producing Take It In?
We made the beat in a studio at his uni in Box Hill, and to be honest the crux of it came together in about an hour. Was pre crazy. We both work with Velvet Bloom so we got her in a week later and she smashed the top line. From there, we finessed it for 4-5 months after that.
What programs/instruments did you use to record/produce?
Me and Max both use Ableton. And me and max both heavily use Massive and Sylenth for sounds! As well as Max on live guitar!
How did you approach the recording/production process?
Unless a vocal is sent to me, I pretty much always start with making a beat which is what Max and I did, then you approach a vocalist and re structure and do stuff from there!
Who did you work with if anybody?
Max Glyde (collab), Velvet Bloom (vocals), Lachie Milne (Mixing), Panorama Mastering (Mastering).
What did you find most challenging and rewarding during the creation of Take It In?
Rewarding for me was the dynamic me and max have in the studio. We just click and its so good. It was challenging finishing the last 10% of it. Really challenging. Most of it was there but we took several sessions to be completely happy with it!
How has your live show progressed over the last few years?
My DJ set I feel has just become more versatile and I think as a performer I’ve become more confident in what I’m doing. Im also playing more and more originals which is great. I am definitely working towards my live show though with a full band. Watch this space 😛
What have the fans been like live?
They love it – and its great cause they vary so much depending on where you play. Blessed to be here.
Who are you listening to at the moment?
Max Glyde, Tentendo, Dombresky, Blush’ko, heaps of slower stuff and Yoga music when I’m trying to sleep haha.
What’s planned for the next few months and 2020 as a whole?
Definitely playing shows, but more importantly releasing music and making heaps of it. I have about 4 singles ready and raring and I want them all out this year ideally. 2020 for me is really honing in on the production side of things.
I hear that you’ve got a fun lil show coming up with The Partae, what can we expect?
You must’ve heard correctly 😉 Intimacy, funk, fun and a heap of taking it in 😉
Insta – http://bit.ly/2iXnYeZ
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I’m currently working on my next project, as well as some standalone singles to follow up Life’s A Bitch but ill be able to give a bit more info on that as time goes on.
All I need is a good full english brekky any time of day and a cheap pint in Spoons.
Stephen Malkmus announces his new album, Traditional Techniques, out Friday 6 March via Matador / Remote Control Record and shares lead single ‘Xian Man’.
Traditional Techniques, Malkmus’ third solo LP without the Jicks (or Pavement), is new phase folk music for new phase folks, with Malkmus as attuned as ever to the rhythms of the ever-evolving lingual slipstream. It’s packed with handmade arrangements, modern folklore, and 10 songs written and performed in his singular voice. An adventurous new album in an instantly familiar mode, Traditional Techniques creates a serendipitous trilogy with the loose fuzz of the Jicks’ Sparkle Hard (2018) and the solo bedroom experiments of Groove Denied (2019). Taken together, these three very different full-lengths in three years highlight an ever-curious songwriter committed to finding untouched territory.
Malkmus took on Traditional Techniques as a kind of self-dare. Conceived while recording Sparkle Hard at Portland’s Halfling Studio, Malkmus had observed the variety of acoustic instruments available for use. The idea escalated within a matter of weeks into a full set of songs, and shortly thereafter into a realized and fully committed album. When he returned to Halfling, Malkmus drew from a whole new musical palette–including a variety of Afghani instruments–to support an ache both quizzical and contemporary. The resulting Traditional Techniques is expansive and thrilling. Alongside gorgeous folk music, there are also occasional bursts of flute-laced swagger, straight-up commune rock (‘Xian Man’), and mind-bending fuzz.
Centered around the songwriter’s 12-string acoustic guitar, and informed by a half-century of folk-rock reference points, Traditional Techniques is the product of Malkmus and Halfling engineer/arranger-in-residence Chris Funk (The Decemberists). Matt Sweeney (Bonnie “Prince” Billy, Chavez) plays guitar throughout.
Pre-order Traditional Techniques: https://
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