Now Playing: Sorry – 'More'

Friday, January 24, 2020
Photo by Sam Hiscox

Since October, London-based Sorry has been dropping tracks off of their debut record with 'Right Round The Clock' and 'Rock 'n' Roll Star'. Today they've officially announced a release date, as well as their brand new single 'More'. Their highly anticipated record 925 will be available from March 27th via Domino.

Just like the tracks that have come before it, 'More' showcases Sorry at their best yet again. The shadowy and distorted elements of 'More' work to portray the seedy hours of the night — which compliments the rest of the tracks that they've released so far. 'More' is so addictive that it's impossible to listen to it just once. Along with sharing the single, they've also revealed the accompanying visuals, once again created by Sorry's own Asha Lorenz, as well as frequent collaborator Jasper Cable-Alexander.

Sorry notes that their album 925 is inspired by the likes of Aphex Twin and Tony Bennett, as well as literary great and artist Hermann Hesse, and we're eagerly awaiting to hear what they conjure up next.

Written by Amy Smolcic (@amysmolcic)

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Now Watching: Chloe Kae – 'Misconception'

Thursday, January 23, 2020

Chloe Kae, who is one half of Melbourne duo Kllo, has started 2020 in a huge way with the release of two tracks, including 'Misconception' and 'Recluse'. The tracks are an initial taste of her solo material. Along with sharing the tracks, she's also unveiled captivating visuals to accompany 'Misconception'.

Directed by Chloe Kae and Edward Goldner, the video for 'Misconception' features raw and personal clips that capture the reflective and arresting nature of the track. Shot across different locations and settings, the snippets appear as expressive and poignant as the next.

On the story behind 'Misconception', she said, "'Misconception' was written with Machinedrum in one of the first sessions I had in LA. I was in disbelief, knowing I’d be collaborating with one of my favourite artists. It was incredibly genuine and organic working with him from his home studio. We finished the structure and melodies in the first session, I just had to figure out the lyrics afterwards, which flowed naturally in such a solitary time in my life."

Watch 'Misconception' by Chloe Kae below.

Written by Amy Smolcic (@amysmolcic)

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Now Playing: CIEL – 'The Shore'

Photo by Jantina Talsma

Brighton-based up-and-comers CIEL will leave you bewitched with their impressive single 'The Shore'. The track is also set to appear on their upcoming debut EP Movement, which is due for release in the coming months. 'The Shore' was produced by Jack Wolter of Penelope Isles.

Exquisite and contemplative, 'The Shore' channels feeling hopelessly stuck and desperately wanting more out of life. Michelle Hindriks' tender lyrics are accompanied by stunning vocals and guitars that are equally as magical.

On the track, Hindriks said, "The song is about a moment where you feel stuck in your life and are waiting for it to ‘really’ begin; yet at the same time, you realise it’s just an illusion and your life has already begun, and you’re living it right now. Losing the connection with that essence can feel extremely frustrating."

Listen to 'The Shore' by CIEL below.

Written by Amy Smolcic (@amysmolcic)

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Now Playing: Porches – 'Do U Wanna'

Wednesday, January 22, 2020
Photo by Max Hirschberger

Porches aka Aaron Maine this week shared huge news that forthcoming record Ricky Music will be released on March 13th via Domino. The album will include contributions from the likes of Zsela and Dev Hynes, as well as co-production by Jacob Portrait. The album is set to feature eleven spine-tingling tracks, which according to Maine in a statement, channel raw and honest reflections of "beauty, confusion, anger, joy and sadness."

Appearing on Ricky Music will be brand new single 'Do U Wanna', which was released alongside news of the album. On the tender and introspective single, Maine said, "'Do U Wanna' is a song about looking at yourself and realizing the disparity between how you’d like to act and how you actually act.  The fun you vs. the isolated you. I feel like with the refrain I’m almost taunting myself to get up and do something."

Listen to 'Do U Wanna' by Porches below.

Written by Amy Smolcic (@amysmolcic)

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Now Playing: Tiña – 'Dip'

Monday, January 20, 2020

South London band Tiña has joined forces with Speedy Wunderground once again and this time it's for the band's new single 'Dip'. Tiña previously released a single with the label as part of their 7" single series. 'Dip' was produced by the label's own Dan Carey.

The sweeping track features a soothing and delicate falsetto by lead singer and guitarist Joshua Loftin. Loftin's hypnotic vocals will see you drift off to another time and place and each second is absolute bliss. 'Dip' might be dreamy, but it's also home to contrasting words like 'time to dance' and 'time to die'. 

On working with Carey once again, Loftin said, "Even in my state of anxiety and paranoia working with Dan is so fun and beautiful. His daughter’s dog is called Feta, and she makes you feel good to hold. I believe Dan has meditated all his life and he just pops into the studio to record before returning to his world peace."

Listen to Tiña's enchanting new single 'Dip' below. 

Written by Amy Smolcic (@amysmolcic)

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Now Playing: Porridge Radio – 'Sweet'

Photo by El Hardwick

We're expecting big things from Brighton's Porridge Radio in 2020 and to get us all ready for the release of their highly anticipated album Every Bad, the band has shared a slice off of the record with 'Sweet'. Along with sharing the heartstopping single, they've also unleashed the music video directed by Sam Hiscox. The album is due for release on March 13th via Secretly Canadian.

The track is a crawling and haunting number that will leave you hanging onto every single word. According to lead singer Dana Margolin, 'Sweet' is about grudges and letting go of them, "I was feeling light-hearted when I wrote it, but when we came together to play it as a band, it suddenly felt really dramatic and exciting. When we play it live, the energy in the room always feels really intense, and then suddenly we just explode altogether and it always feels really good."

Before it's time to dive into Every Bad, listen to 'Sweet' below.

Written by Amy Smolcic (@amysmolcic)

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Gig Review: The Growlers + Starcrawler | Melbourne | 16.1.20

Friday, January 17, 2020

The Growlers might have only been in town just over a year ago, but fans of the iconic band from California would gladly welcome them back again soon in a heartbeat. Their East Coast tour has also included stops in places where mega international bands wouldn’t typically travel to, like Torquay (where they’re finishing up the tour tonight), San Remo, and Frankson. As the tour winds down, they last night made an appearance at Croxton Bandroom in Melbourne.

Accompanying The Growlers on the road were American rock band Starcrawler. The band drew an impressive crowd despite playing at 8:30 pm — many, just like myself, intrigued and curious about the stories that they’ve heard about their shows.

Featuring a performance style that’s a fusion of Iggy Pop and a crawling slasher film, it’s hard to take your eyes off of Arrow de Wilde — the performance art was so good that there were many moments where the crowd were left bewildered or startled from the on-stage happenings. Particularly at the end when she dived into the crowd and dropped lifeless to the floor and proceeded to be carried off by who presumed to be the band’s tour manager — all of which is part of the enigma of Starcrawler.

Along with the heartstopping ending of the show, she also dropped to the floor numerous times, convulsed, simulated oral sex with her microphone and spat out blood. In between his invigorating and furious guitar playing, the band’s guitarist Henri Cash grinned widely, almost in a way that felt theatrical and part of the show.

Though it’s easy to become captivated and entranced by the theatrics of Starcrawler, they also impress sonically, unleashing a brand of rock and roll that’s pure and spirited. The fusion of performance art and unfiltered rock and roll is a combination that works undeniably well.

Spanning approximately two hours, The Growlers played a marathon set that never felt lengthy or overcooked. When you’ve got as many hits as they do, you can be excused for playing a long set. Though they were in town celebrating their new album Natural Affair, their set featured an exciting mix of tracks across their extensive catalogue of material.

The Growlers kicked off festivities with their 2013-released track ‘Someday’, which is a jangly and dreamy number that transported everyone to the beach. This enchanting start to their performance set the tone for the rest of the night. The early portion of their show also included the hazy and swirling ‘Night Ride’, with frontman Brooks Nielsen, who was donning a red beret, luring in the audience with his signature vocals, which appear smooth as velvet in a live setting.

As the show progressed, there was no slowing down for The Growlers or the crowd. The crowd were roaring and lively across the entire duration of the show and it’s hard to pick a single moment that had the largest sing-a-long — the whole two hours was jam-packed with sloppy singing from the loose and untamed members of the audience (and superb vocals from Nielsen).

Towards the middle of the show, someone in the crowd threw feather boas onto the stage, with Nielsen grabbing hold of one and wearing it for the next couple of songs, including the vibrant and warm sounds of ‘Natural Affair’. The midway point also included their bouncy track ‘Social Man’, which features on their most recent album — arguably providing one of the more sweatier moments of the night.

Before departing the stage for the first time, they left the crowd desperately wanting more with ‘Chinese Fountain’. After a much-deserved encore, they returned to treat the crowd to a final serving of ‘beach goth’ goodness with ‘I’ll Be Around’ and ‘Going Gets Tough’.

Even after six studio albums and years of touring, The Growlers are as polished and sharp as they’ve ever been and their enthralling live shows are a testament to this.

Written by Amy Smolcic 
Photos by Kristy Smolcic 

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Now Playing: Talk Show – 'Banshee'

Thursday, January 16, 2020
Photo by Matt Wilder

London-based band Talk Show has kicked off their year with a brand new single and news of an EP that's set to drop in a few months. The EP, entitled These People, will be their first and is scheduled for release on March 27th. Featuring on the EP will be their freshly released single 'Banshee'.

The band's latest slice of post-punk features lively and vivacious sonics mixed with a gripping storylike structure that tells the story of a relationship. On the track, lead vocalist and guitarist Harrison Swann said, "At its core, 'Banshee' is a frustrated lovelorn tale. We didn’t want 'Banshee' to feel depressing or hopeless, more heartfelt and ardent. I wanted the lyrics and song to progress through a relationship which brings no resolution, nor closure for the protagonist. Focused on melodic guitar lines and the rhythm section supporting the lead vocal, it helped us to create an uplifting track with a melancholic undertone."

Listen to 'Banshee' by Talk Show below.

Written by Amy Smolcic (@amysmolcic)

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Now Playing: Charlotte Spiral – 'Only Place I Know'

Wednesday, January 15, 2020
Photo by Barbora Mrazkova

After sharing their impressive debut single 'Wide Eyed' last year, London-based duo Charlotte Spiral has unveiled yet another gem with their stunning new track 'Only Place I Know'. Their latest single is the second to come from their upcoming debut EP Ideal Life, which is due for release next month on February 7th.

The poignant track was inspired by introspective thoughts and the all-consuming nature of self-doubt. On the single, the band said, "'Only Place I know' was written as an immediate reflection on self-doubt. “The 'only place I know’ in the chorus is the 'place', which gradually moves towards hope within the verses and describes how someone close to you can help you gain confidence and belief in yourself."

If you're based in London, you can catch Charlotte Spiral at their EP launch show at Servant Jazz Quarters on February 4th.

Listen to 'Only Place I Know' by Charlotte Spiral below.

Written by Amy Smolcic (@amysmolcic)

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Now Watching: King Krule – '(Don't Let The Dragon) Draag On'

Photo by Charlotte Patmore

Archy Marshall aka King Krule has announced huge news that he will be releasing his highly anticipated album Man Alive! on February 21st, which will be his third studio album. Until it's time to savour the album in its entirety next month, he has served up a preview of what's to come with '(Don't Let The Dragon) Draag On' — the release of the single has also been accompanied by a music video that was directed by Marshall.

Marshall's love of cinema saw him draw influence from Carl Theodor Dreyer's masterpiece The Passion of Joan of Arc. The video sees him tied to a burning stake, which is slowly revealed as the song progresses. The stirring single is also home to moving and gut-wrenching lyrics, such as "I keep telling those / Expelling those / Negative holes to go away / But it seems to grip / More everyday / Walls get taller Self-medicate / "And how did you get this low?" / That's what the illness spoke / For every word they had to say / Better off just leaving me this way / Better off just to leave it."

Watch '(Don't Let The Dragon) Draag On' by King Krule below.

Written by Kristy Smolcic 

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Now Playing: The Wants – 'The Motor'

Tuesday, January 14, 2020
Photo by Madison Carroll

The Wants have followed up 'Fear My Society', which was one of our top songs of 2019, with another incredible cut with their exhilarating new single 'The Motor'. The song will be appearing on their forthcoming debut LP Container, due for release on March 13th via Council Records.

The racing track will leave you in a pool of sweat in the best way possible. According to Madison Velding-VanDam from the band, 'The Motor' started off as a live instrumental before they decided to add vocals onto it. Velding-VanDam also said in a statement, "I first had the epiphany for the spoken word vocals that feature in 'The Motor' whilst re-watching the introduction to one of my favourite movies, David Lynch’s “Lost Highway”. In it, racing pavement reveals only level white dotted lines shrouded in darkness as David Bowie croons his sinister, 90s industrial art-rock masterpiece, "I’m Deranged"."

Listen to 'The Motor' by The Wants below.

Written by Amy Smolcic (@amysmolcic)

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Interview: Juliette Jackson from The Big Moon on pressure and Walking Like We Do

Friday, January 10, 2020
Photo by Pooneh Ghana 

After the success of their debut album, UK quartet The Big Moon could have played it safe with their new record Walking Like We Do. Instead of repeating what they've already done and mastered, they present a completely different side of their sound across the album's eleven tracks. Songwriter Juliette Jackson absorbs the world around her and channels her observations, thoughts and frustrations throughout the course of the album. In the lead up to the release of Walking Like We Do, we spoke with Jackson about expanding on their debut, handling pressure and the challenges that the band faced.

You're starting off the year in quite a big way by releasing your new album Walking Like We Do, how are you currently feeling about it all?

I'm feeling very excited. I'm kind of impatient to be honest. I'm so ready to stop talking about these songs and show them to everyone. It's kind of nice that it's coming out in January because it's so easily definable. It's nice when life is like, "Oh this happened this year, this happened that year...". We’re starting off 2020 in a good way.

How long did you spend working on it?

It's been two and a half years until now. So maybe it was a year of writing and then we spent a month recording it in Atlanta. It was finished in May. I'd say about a year and a half total of actually doing stuff. The period after we released the first album we toured for a while.

After touring the last album and then starting your sophomore, did you have time to have a break?

We definitely gave ourselves a little bit of a break because we were touring for so long after the first album. I definitely came home and had at least a month of sitting around in my pants, not really going outside. And then I spent a year sitting around in my pants not going outside writing songs, sitting around in my pants in a different way (laughs).

What were some of the things you did when you needed some time to reset and recharge whilst writing the record?

I like to write and take myself away somewhere to do it. Like I'll go to someone's house for a week. I find it easier to compartmentalise things a bit and just throw yourself into it completely for a week or two weeks and then come home and not be creative at all for a while. I mean motivation was just always there because I felt like there was a lot that I wanted to write songs about and a lot of things that I wanted to try musically. It was quite exciting, really, like a process of discovery.

And what were some of the things that you wanted to try musically?

I went into this process knowing what I wanted it to sound like. I knew I didn't want it to be a rock album again. I wanted to make something deeper and wider and more panoramic or widescreen. That's kind of a weird way to describe a sound but you just try new sounds and using stuff like sub-base instead of bass guitar because it's so much deeper and purer and playing with a lot of new instruments. We didn't want to limit ourselves to the live band set-up. You always have that voice in the back of your head questioning how you're going to achieve what you want to do. For example, when you're writing a song that has different sounds in it, you’re like 'how the fuck are we going to play this live?' But I just decided to not think about that because there's always a way to figure it out.

Would you say that on this album it was important for you just to go with your instincts and not overthink it too much?

Yeah, definitely. We wanted to be bold and we wanted to try new things. We know how to make a rock album. There's still plenty of guitar on this album and plenty of rock. But it was all about trying something new. I think we found a lot of faith in our own character. We realised that whenever we're playing, whatever genre we write, it's always going to be a Big Moon song because we're singing it and it has our lyrics. So we were like, "Actually, we can do whatever we want," and that's great.

How would you say the album captures where the band is at and where you're at currently?

I think it's been two years in the making and over that time it feels like things have really changed. The world's gotten a bit weirder and bigger and scarier and we are also growing up and I think this album is the sound of us trying to process all that and trying to explain that feeling. Things feel unstable at the moment and it feels like the floor could just turn into a trapdoor and you could fall through it and this whole album is about exploring that feeling and trying to articulate it.

Your debut album was critically acclaimed and received a lot of praise around the world, as well as being nominated for The Mercury Prize, did you feel any pressure because of all this when working on Walking Like We Do?

I did for a while, for a few months, definitely at the beginning I felt it. But once I realised that we could do anything and that I could write any kind of songs and that I didn't have to do the same thing again it became easier. It actually became a really good thing because I like to say you write songs differently when you know that someone's going to listen to them eventually. With the first album's songs, a lot of those I wrote before I'd even found all of the band members and they were the first songs that I ever wrote. I was kind of just feeling my way, really. This time, it felt good to be confident and I knew what I wanted to say, so that made it easier.

What were some of the challenges that came up?

The main challenge was uprooting myself from the same processes as the first album. For a while, I was writing the same kind of songs, just out of instinct and because we'd been on tour for a while, just doing the same thing again and again. Like sketching the same shapes, and without meaning to you keep writing the same songs. So, just noticing that and starting to find new ways to write to get out of your comfort zone. That was the main challenge that once I started doing it, it felt good. I was writing on the piano for a while just because it felt so unfamiliar.

Is there a song on Walking Like We Do that was a bit more difficult than the others to work on?

They all have their moments. Well, not every song but with a lot of songs there's a point in the studio where you reach a brick wall and you have to just kind of stop pushing that and work on something else. When you hear something again and again and again after a while you can't really hear what was originally good about it or it can become hard to get a perspective on. What is the heart and soul of a song when you're spending so much time focussing on it? There wasn't a particular one that was tough because as soon as a song goes well and you've done it, you forget all about that stuff. You completely forget that it was ever a problem in the first place (laughs).

What do you hope listeners get out of their listening experience of Walking Like We Do?

I just hope that people will listen to it and find something that they can identify with. I hope they can find some truth in it. Whenever I listen to a song, I want it to tell me how I'm feeling. Maybe you don't know what that feeling is until the song says it. I think the right song at the right place at the right time is everything. And whether it's making you go and cry in a corner or it's making you go and dance on the dance floor, it's freedom from having to think your own thoughts. I hope people can find some kind of strength in that.

Written by Amy Smolcic (@amysmolcic)

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Interview: Georgia finds home on the dance floor

Thursday, January 9, 2020
Photo by Joseph Connor

With Georgia’s sophomore album Seeking Thrills, the world of dance music becomes a place of retreat and release. After a difficult patch, Georgia Barnes invested her energy immersing herself in all facets of dance music, particularly focusing on Detroit and Chicago dance culture and dance music around the globe. She also began attending raves and clubs sober as a way of experiencing the unhindered rawness of these environments free from the influence of other factors. Seeking Thrills showcases her growth as both a musician and a young adult navigating life’s many challenges.

Seeking Thrills follows in the footsteps of her critically-acclaimed debut self-titled album, which was released in 2015. Originally it wasn’t her intention to wait approximately five years to share another album — after the excitement of sharing her debut, she was ready to launch into work on her second album, before her label Domino encouraged her to take her time to make sure she wasn’t rushing it. “It was my record label that sort of went, "Whoa!" And waved the red flag and was like, "Look, you need to take your time on this. You need to get this right.”

The encouragement from her label to take her time and explore what she wanted to do in more depth put things into perspective for Barnes. During our chat, she admitted that the nature of streaming means there is much more pressure on artists to shorten album cycles and release music quicker to feed demand, but she doesn't let that push her to release anything that she isn’t comfortable to share.

“[Domino] telling me that put things into perspective. It's really changed my idea that we don't always have to rush out records. I wanted to get it right, and time and patience was a major factor in that. So I'm really happy that we took our time over it because I think this record has way more direction, and it's more concise in its sound.”

Working on Seeking Thrills was a transformative experience for her on a personal level. Amongst working on her new record, she found balance and routine, which included waking up at 7:00 AM in the morning, swimming, working out more and making sure she was getting an adequate amount of sleep.

“I stopped drinking, I got very fit, I began to take care of my nutrition and what I was eating. I lost a lot of weight. I guess I began to look after myself and take care of myself in a way that I didn't do for the first record. So it was a really important time for me. I look back at these songs and I see them not only kind of reflecting this idea of 'seeking thrills' and this kind of fun element, but also a personal journey that I went on.”

This personal journey also included attending clubs and raves sober, where she observed and took in her surrounds as well as being a participant. “I've been a sort of hedonistic participant in the past. But this time around, I was observing as well as participating. The observations I saw were just the fact that people needed these dance floor experiences, and speaking to people in clubs, finding out what they do and finding out more about their lives.”

She met a range of people, including those who worked mundane 9-to-5 jobs and retreated to dance music as a form of emotional release and self-expression. “People were also saying that they love being around people collectively, forming a kind of collective energy. That had a huge effect on me. I think it's never going to die, this kind of idea of collective dancing, and it's lasted for so long. It’s a huge part of people’s lives as well as a big part of my life.”

The phenomenon of dance music is something that has surrounded her since her youth, having witnessed her dad play, “I was brought up witnessing thousands of people dancing to his pulsating rhythms, techno, house. And I've always been fascinated by it, even when I was younger.”

On Seeking Thrills, she also set out to transform her entire process and approach the record differently from her debut, which she notes was written in an “experimental way”. The first record was written partially in her bedroom and the rest in a studio in the early hours of the morning. Though she felt confident in her ability to produce well, the first record left her wanting to expand on her songwriting process.

“I think listening to the first record, it's kind of like throwing layer after layer of sound in a song. And what the second record really kind of is, I think I'm proud about, is that I don't throw everything at one song. I stripped it apart and made sure that the vocals and the song structures are really concise. So I think on the first record, I was less disciplined.”

Barnes invested her energy in analysing music, particularly looking at dancefloor culture and dance music around the world. She found herself drawn particularly to Detroit and Chicago dance music. On her research, she said, “I gathered a lot of information on Detroit and Chicago dance music that helped me and led to this discovery of the fact that it really affected pop music and particularly the sound you hear in pop music today. Much of mainstream pop music now is very dance-orientated.” She also notes that both Chicago house music and Detroit techno are often overlooked for their influence and it was important for her to go back and understand the history more.

Barnes also spent time researching African music, Indian music and Southeast Asian music. “For a time, I was almost like a musicologist, kind of tracing all the dots of house music and techno music.”

She’s more than a fan of music, she’s a scholar of the artform who is passionate about its origins and the ways it has evolved. “I'm really fascinated with how music affects cultures and how culture affects music. I guess that comes from the kind of academic side of studying music. I've always been drawn to the way music travels across the world.”

When creating Seeking Thrills, she also gained admiration for artists like Billie Eilish who work against the constraints of genre. “I think people are not wanting to define their music anymore. I especially think that with Billie Eilish, she's come along and made this kind of pop music that you can't really define and it’s really refreshing. I've always looked to artists who go through periods where you can’t define them and that really influences me.”

Just like observing nightclubs and the effect dance music has on people, Barnes was drawn to the experience of her own live shows. “The live show feels like a major part of the whole idea of this record,” she said, “Along with being inspired by dance floor culture, I was also drawn to the inclusivity of it. People are able to feel free and are able to express themselves because they're in a safe environment. I want people to come to a show and have this kind of experience, I want people to really feel something on the dance floor and feel like they're free to do that.”

When she’s performing, she wants to feel part of the crowd and wants her audience to feel like they’re part of the experience she’s having. She’s determined to breakdown the boundaries between being on-stage and being a member of the crowd and merge these experiences into one. “On-stage, I present myself as almost like an audience member, and I want to make sure that they feel free and safe and I'm not this sort of untouchable artist.” She also said that she wants to leave the stage dripping in sweat as if she was jumping along with the crowd.

When people embark on their journey of listening to Seeking Thrills, she hopes they feel as empowered as she felt when creating it. She hopes it inspires listeners to seek pleasure in whatever form they like. “I think people need an outlet to let loose because in this modern-day everyone's working so hard. We need to check in on ourselves every now and then, going after those thrills gives us balance and clarity and we all need that.”

Seeking Thrills will be released tomorrow, Friday, January 10th via Domino Recording Co. —  Click here to find out where you can listen to it. 

Written by Amy Smolcic (@amysmolcic)

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Now Playing: The Orielles – 'Space Samba (Disco Volador Theme)'

Tuesday, January 7, 2020
Photo by Holly Fernando

UK quartet The Orielles are back with yet another impressive single, this time sharing 'Space Samba (Disco Volador Theme)'. The track is set to appear on their forthcoming sophomore album Disco Volador, which is due for release on February 28th via Heavenly Recordings.

Their enthralling new single stars an enchanting fusion of psych-pop, psychedelia, samba, as well as a sprinkle of some The Orielles magic. On the all-consuming track, Esmé from the band said, "Space Samba is a song about corporeal experience, something which we feel we are collectively losing sight of in an age of mental existentialism! It is the ‘Disco Volador’ theme because it relates to the phenomenological thread of the whole album, which tackles the many interpretations of the title throughout. In this instance, it refers to Disco Volador’s literal translation of ‘flying disc’ or ‘frisbee’, using this symbol to reflect both feelings of flight and motion and the notion of human connectivity."

Dive into The Orielles' new single 'Space Samba (Disco Volador Theme)' below.

Written by Amy Smolcic (@amysmolcic

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Now Playing: Moses Sumney – 'Me in 20 Years'

Photo by Eric Gyamfi 

Moses Sumney has shared his first song of the year with his chilling number 'Me in 20 Years'. The track is a preview of his highly anticipated double album græ via Jagjaguwar. The first part will be released next month and the second will be released on May 15. 'Me in 20 Years' was co-produced with Daniel Lopatin (Oneohtrix Point Never). 

The introspective track tenderly reflects on the end of a relationship as well as the big existential questions that we want to ask ourselves in the future. On the track, he delicately croons, "Hey, me in twenty years / Does your milk still turn to rot too soon? / Do you still hoard souvenirs? / And make them mirrors of sentimental veneer?"

In an interview with Zane Lowe on Beats 1, Moses Sumney said on the track, "When I first played [Lopatin] the demo, which was wordless and me singing at the top of my lungs and range, he said that it sounded like an old lady screaming to herself in the middle of a Whole Foods. And that I realized then and there that that is my brand. So that’s what the song is, it’s just me and screaming in the middle of Whole Foods. It’s just such an exaggeration. I think that we’re really melodramatic generation and I also think that, us, millennials have a very complicated relationship with aging."

Listen to 'Me in 20 Years' by Moses Sumney below. 

Written by Amy Smolcic (@amysmolcic)

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Now Watching: Do Nothing – 'Lebron James'

Wednesday, December 18, 2019
Photo by Tom Morley

Nottingham post-punk band Do Nothing have unveiled the visuals for their recent single 'Lebron James'. The video for the single was directed by Kat Brown and Ciaran Grant.

In a pub where it looks like something is about to go down, Chris Bailey from the band repeats the track's lyrics into a phone whilst surrounded by all sorts of odd types — including a dude frantically pumping air into a yellow balloon on the verge of bursting. Bailey said on the video, "We always like our videos to feature people or places local to us so they have a weird familiarity (for those that know). We filmed the last one at the bar Nottingham we all drink at, this time we hired out an old social club near where we all live and cast a load of friends and their parents to play these funny sinister roles."

Check out 'Lebron James' by Do Nothing below.

Written by Amy Smolcic 

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Now Watching: The Voidz – 'Did My Best' & 'The Eternal Tao 2.0'

The Voidz have ended the year in a huge way by releasing their brand new single 'Did My Best' via Terrible Records. Just like 'The Eternal Tao' earlier this year, their new single sees them join forces with Mac DeMarco and Kirin J Callinan once again on production — along with co-producing the track, DeMarco and Callinan also make an appearances in the epic 11-minute long video.

The lo-fi style video for 'Did My Best' was directed by Promiseland, and features The Voidz with mannequins. Though the mannequin scenes are in black-and-white and have a nostalgic energy reminiscent of the single and old-school Italian films, the video also cuts to more vibrant scenes of the band playing surrounded by neon lights — which looks like the cover art for 'The Eternal Tao' when it was released and the stage set up they had when they released the single. The video jumps into an updated version of 'The Eternal Tao', where the video turns into a hallucinogenic wonderland.

On the video, the band said in a statement, "This video is inspired by a nonexistent Fellini TV show mixed with a futuristic timecop-party vibe. How do humans interact with robots/non-DNA carrying entities and how do said entities interact with us? Are we teaching them? Are they teaching us? Or is it all more sinister...."

Watch 'Did My Best' & 'The Eternal Tao 2.0' by The Voidz below.

Written by Amy Smolcic (@amysmolcic)

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Feature: Our Favourite Albums of 2019

Tuesday, December 17, 2019

As we get closer to the end of 2019, we continue to dive into our favourites from the last twelve months — and this week we’re excited to take you through our favourite albums. With over half of our list featuring debut offerings, emerging artists from both home and abroad had a huge impact on our listening habits this year. Scroll through as we take you through the albums that we loved over the course of 2019.

W. H. Lung – Incidental Music 
UK band W. H. Lung treated music fans to the unexpected with their impressive debut album Incidental Music. Released back in April, the dynamic album features eight polished yet chaotically beautiful tracks.  From the epic ten-minute long opener ‘Simpatico People’ to the album's closer ‘Overnight Phenomenon’, each turn is as gripping as the next. With more music coming from W. H. Lung, we have a feeling that they’re going to up the ante once again with their next release.

Favourite track: ‘Second Death of My Face’ or ‘Inspiration!’

Methyl Ethel – Triage 
Written and created deep in solitude by Methyl Ethel’s Jake Webb, Triage explores emotional themes of belonging, identity and isolation. Arguably their best album to date, Triage pushes us all to ponder our own sense of existence alongside Webb and that's a very beautiful thing.

Favourite track: ‘Hip Horror’ or ‘Scream Whole’

FEET – What’s Inside Is More Than Just Ham
This untamed band from the UK came through blazing on their debut album What’s Inside Is More Than Just Ham. FEET’s genre-defying record embraces all that’s weird and wonderful about their sound and the stories that they create. Crafted in an array of settings, from a farm to a retirement home by the sea, their album will take you on a journey that you won’t ever forget.

Favourite track: ‘English Weather’

The Ninth Wave – Infancy
Released in two parts and six months apart, Infancy is a gripping and stirring body of work. As you listen to the album, you can’t help but feel deeply moved by their poignant and open words. If you’ve ever felt overwhelmed or alienated by the world, you'll find a piece of home amongst Infancy.

Favourite track: ‘First Encounters’ or ‘Sometimes the Silence is Sweeter’

Angie McMahon – Salt 
It felt like a long time coming, but Angie McMahon’s debut album was well worth the wait. In under an hour, McMahon reaffirms her status as one of Australia’s finest songwriters. Her superb release still gives us chills.

Favourite Track: ‘Soon’

Alex Cameron – Miami Memory 
Through his previous offerings, he’s told stories about some of the world’s most unnerving characters and the inner workings of their psyches. Though Forced Witness was a great album and a solid release by Cameron, Miami Memory presents a more personal and intimate reflection of not only his own life but also the powerful women that inspire him — particularly his partner Jemima Kirke — and it's pure magic.

Favourite song: ‘Other Ladies’

Lupa J – Swallow Me Whole
After spending years exploring her sound, Australian artist Lupa J released her highly anticipated debut album this year. The experimental release encapsulates everything that’s special about her music, whether it’s her raw and honest lyricism or intriguing electronic instrumentation, she can do it all.

Favourite song: ‘Comfort in Numbers’

Orville Peck – Pony 
Enigmatic country artist Orville Peck carries the spirit of country legends before him on his absorbing first album Pony. Produced and recorded by himself, the album is home to spine-tingling tales of heartbreak, revenge and everything in-between. Artists like Orville Peck only come around once in a lifetime.

Favourite song: ‘Nothing Fades Like the Light’ or ‘Dead of Night’

Little Simz – GREY Area
Just when we thought Simbi Ajikawo aka Lil Simz shared the perfect album with Stillness In Wonderland, she came through with her brilliant follow-up GREY Area. She embraces vulnerability on the album, using each of the tracks to talk as open and expressive as ever. Little Simz's place amongst the modern greats of hip-hop is undeniable.

Favourite song: ‘Venom’

FONTAINES D.C. – Dogrel 
Their debut album Dogrel — which is named after a form of Irish poetry popular amongst the working class — paints a picture of Dublin through the lens of frontman Grian Chatten, who grew up in the city. With their distinct brand of songwriting, they mix realness and honest critiques of the world exactly how they see it.

Favourite track: ‘Boys In The Better Land’

Drab Majesty – Modern Mirror
Mysterious, and often mystifying, LA-based darkwave duo Drab Majesty turns the mirror on modern society with a postmodern critique on Modern Mirror — exploring the ways self-obsession, technology, imitation and distorted worldviews have stained humankind.

Favourite track: ‘Out of Sequence’

Faye Webster – Atlanta Millionaires Club
Love and heartbreak might be a theme that appears often in music, but it's rare to find someone who approaches it as masterfully as Webster does. Across the duration of ten intimate tracks, she channels feelings of longing and heartbreak through a series of heartfelt words.

Favourite track: 'Kingston'

Written by Amy Smolcic and Kristy Smolcic 

Interview: Billy Davis on Life, 'Wilderness' and New Music

Friday, December 13, 2019

Melbourne-based artist and producer artist Billy Davis has had to balance the challenges life has thrown at him with the desire to stay creative and make music. He recently unveiled 'Wilderness', which is the third single to come from his upcoming sophomore album THIS IS WHAT'S IMPORTANT — which is a song that's about surrounding yourself with good people in times of hardship as well as the importance of being a good friend and supporting others. Along with sharing the album next year, Davis will be hitting the road with Tones and I in the UK and Europe in March. We recently sat down with him to talk about spending time in Asia recently, collaborating and what he's been working on.

You were recently in Asia for Music Matters in Singapore as well as the Philippines. What was that experience like?

Asia was crazy, especially in the Philippines. Being there was a big eye-opener for me because I'm half Filipino and growing up my mum was heavy into the Philippines stuff. But I hadn't gone home in such a long time, so it was really cool to be able to go home and do music and be producing for artists out there. That was super cool. It's just so good to get out and see the world. Singapore was amazing too, but it was boiling hot. Being there though and seeing other artists from around Asia was really inspiring. There's people from Third World countries who are grinding hard and becoming artists, I found being there very inspiring. It was a really cool experience.

So spending time in Asia helped refuel your motivation to make music?

One hundred percent. It's very easy when you grow up in Australia to go, "Oh I need to make it in America." Some artists gravitate towards the Western world and forget about other parts of the world. It was cool to see that there's a whole different market out there. It's a whole different world. Being there opened my mind up too, especially with collaborating. There's some Asian artists that I met who wanted to work with me and I probably wouldn't have met them if I didn't go over there.

Do you see yourself spending more time over there?

Definitely. I see myself going back there and doing shows and working with everyone that I built friendships with, one-hundred percent.

Where else in the world do you see yourself taking your music to?  

In March, I'm going to the UK and Europe to tour with Tones and I, which I can't wait for. I'm a mad football fan too, so to be able to go to the UK and hopefully watch some games would be mental for me. I have a feeling that I want to be back in America next year too, as well as go back to Asia. I really want to go to Thailand and Indonesia as well.

I read that you filmed the video for 'Wilderness' in the Philippines. What was that experience like?

That was so crazy. In the video, I get kidnapped by all these random artists and get taken to different locations. It's a bit confusing, but that's legit how I felt there because every day I was with another artist in another studio, and traffic was always bananas in the Philippines, it's the third-worst in the world. So it was always chockers to get in a taxi or an Uber, or they call it Grab there. You'll literally be in there for 45 minutes before getting to another location and another artist. It was good to be doing something like a video in a different country.

'Wilderness' is very personal but it's also a song that's relatable to others who have encountered a difficult patch. What's the message that you hope listeners take from the song?

I think just to be a good friend. Especially with social media and stuff, when someone's sort of having a meltdown or someone's breaking apart, if you don't like someone and they post something, you won't like their photo. It's weird how our world has drifted towards overthinking everything that we're doing online. If you get to the crux of it, it's pretty crazy that we've become like that as people. I went through a pretty hard time two and a half years ago, and people that I thought would come for me never did. Me going through something became a conversation starter rather than, "Well he needs help." So I think the biggest message I want people to get from it is to not become a slave to the machine. Even if it's online, we're dealing with real people. It's very easy to get lost in everything and treat everyone like a number. These are real people, and real situations. Stuff can get really dark. You need to try your best to be there for others going through stuff or at least make an effort to help them.

Is being open in your music something that comes naturally to you?

My mum was pretty blunt when I was growing up, she'd just tell you how it is. It'd be pretty embarrassing, like we'd go to places and she'd just speak her mind. She was one of those mums. So that rubbed off on me, and I always just feel like the best stuff comes out when I'm honest and I'm not trying to fake it. When my music started going really well for me, I sort of was becoming something that I wasn't. My best stuff comes from being honest and that's just who I am.

You mentioned earlier that you collaborated with artists in the Philippines. What do you enjoy about collaborating with others?

Being a producer-artist is cool as every time I collaborate, vocally it's a different instrument each time. It's kind of like different colours on a painting. I love it as each artist I work with is unique and being able to hit the studio with a different artist each time is amazing as it means my music is always going to be more different than the last.

How much time do you spend with your music before sharing it with someone else?

I do a lot by myself until I reach a point that I'm sort of happy, then I'll give someone else a peek. I used to send stuff straight away, but I definitely learned my lesson from doing that. I hate sending stuff to people and going, "Just letting you know, this isn't mixed or mastered, so don't judge." I've decided now that If I'm going to make any excuses before I send music to someone, that it isn't worth sending in the first place. I want to be at a point where I'm just completely happy with it and there's no excuses, nothing to hide behind. I just send it off, and then they just tell me what they think.

You've got your second album coming out next year, what did you learn the first time around that's helped you this time?

To take my time. It's taken me around two years this time. The last one took me six months. I've learned so much since then. I've become a better producer since then as well and a better musician. My writing has also improved. I've definitely taken my time this time. A lot has hit me in life since then too. There's a lot more depth to my new music because life was pretty sweet when I made the last one. I was just writing songs for fun at that point.

What have you experimented with sonically this time that you didn't on the first album?

I was really safe with the last one. I didn't push the envelope too much because I wanted to fit the bill of what people expected from music. With this one, I wanted to be honest to myself. With my new album, it's a lot braver sonically, and much more true to myself.

Along with the album next year, what else do you have coming up?

I've got the Tones and I tour in March. I've been working with so many artists too. It's been a really good year for me production-wise. I've had an awesome opportunity to work with people overseas and here. I've got a lot of tracks I've produced for people coming out too, which is crazy exciting.

Written by Amy Smolcic (@amysmolcic)
Photos by Kristy Smolcic (folio)

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Photo Diary: Behind the Scenes with Oracle Sisters

Thursday, December 12, 2019
Photo by Maja Mihelič

Paris-based Oracle Sisters have had quite the year — along with embarking on a mini UK tour last month, their year has also included the release of their exquisite singles 'Spotlight' and more recently 'From Kay's to the Cloisters'. They also recently supported papooz and are currently supporting Rikas in Germany, including shows in Berlin, Würzburg and Stuttgart. Oracle Sisters was originally formed by long-time friends Lewis Lazar and Christopher Willatt, who grew up together in Brussels. Over the years, they moved New York and Edinburgh separately before joining forces once again in Paris in 2017, where they began working on music. Later on, Julia Johanssen joined the group making Oracle Sisters complete. The group are one of the most exciting acts to come out of Paris recently and we can't wait to hear more from them next year.

During their show in London last month, Oracle Sisters took some snaps on film during the night and we're excited to share them with you below.

Lewis and Julia writing a setlist for their headline show at Laylow Club, London.

Oracle Sisters post-show at Laylow. 

Oracle Sisters live at Sneaky Peate’s Edinburgh, as part of their mini-tour of the UK.

Lewis Lazar with fan and newfound friend Freddie Foulkes.

Drummer Julia Johansen & bassist Antonin Bartherotte in London

Listen to 'From Kay's to the Cloisters':

Listen to 'Spotlight':

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Now Playing: PVA – 'Divine Intervention'

Wednesday, December 11, 2019
Photo by Jody Evans 

Speedy Wunderground
is the gift who keeps on giving and they've shared an early Christmas treat with their latest single. Number 33 in their singles series is 'Divine Intervention' by London trio PVA. The 7” vinyl for the single will be released on January 17th and will be limited to 250 copies.

Featuring Ella Harris, Josh Baxter and Louis Satchell, they formed the project approximately two years ago at a house party. PVA caught the attention of Speedy Wunderground's Pierre Hall, who caught them playing at Green Man Festival.

According to Ella Harris, 'Divine Intervention' is an introspective track about being caught in a maze of memories. "'Divine Intervention' is about getting lost in memories and past experiences, coming to resolution within yourself and growing from these experiences to be a fuller, more rounded version of yourself. It’s very cathartic being able to contrast these personal, quite sad at times lyrics against such an upbeat track — the euphoria of dance music cures all."

Hit play and become lost in the magic of 'Divine Intervention' below.

Written by Amy Smolcic (@amysmolcic)

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Feature: Our Favourite Tracks of 2019... Part Two

Tuesday, December 10, 2019

We’re excited to finally share part two of favourite tracks of 2019. If you missed part one of the list, you can check it out here. Though the year has delivered so many amazing songs, the tracks below are the ones that left the biggest mark on us. You can also spin all our favourites that have appeared in part one and two in our new playlist below.

‘Second Sweat’ by Faux Real
Franco-American brothers Virgile and Elliott Arndt may only have one single out in the world, but it’s a pretty damn good one. ‘Second Sweat’ is pure goodness from beginning to end and you’ll fall in love with the track as soon as you hear it.

‘Limbo’ by Sinead O’Brien
Our favourite post-punk poet unleashed a string of brilliant singles in 2019, including her magnetic track ‘Limbo’. O'Brien is an impeccable songwriter and her expressive words are incredibly special.

‘I’ll Have What She’s Having’ by Wooze
It’s a fact, there’s no such thing as a bad Wooze song. The duo are an absolute force and we can’t wait to see them dominate next year.

‘Hip Horror’ by Methyl Ethel 
Released earlier in the year, Methyl Ethel’s release Triage has been an album that we’ve constantly returned to throughout 2019. ‘Hip Horror’ is an eerie and unnerving cut from the record, but also a track that’s beautiful in every way possible.

‘Tired and Sick’ by Otha
Otha doesn’t share singles often, but when she does we’re always left in awe of her talent. Her rave-inspired track is exactly what you want to be blasting aloud when you’ve had enough of the world for the day.

‘Narcissus’ by Lazarus Kane 
The ever-so-enigmatic Lazarus Kane came through triumphant with their first single via cult label Speedy Wunderground. The track serves up seven-and-a-half delectable minutes that you won’t forget.

‘Girls’ by Eliza Shaddad
Eliza Shaddad’s music always gives us a rush of goosebumps and ‘Girls’ was certainly no exception. Across the track, you can feel every single word she croons.

‘Human’ by Emerson Snowe
‘Human’ might feel warm and vibrant, but Emerson Snowe’s words cut deep. Not only was his debut EP That’s Rock ‘N’ Roll one of our favourite EPs of the year, but we were equally impressed by his live show too.

‘Time Machine’ by Weird Milk 
Weird Milk are one of the most exciting bands in the UK right now and throughout the year they’ve shared different sides of their expansive sound. Their single ‘Time Machine’ is one that we continue to have on-repeat.

‘Personality Change’ by Glove
‘Personality Change’ was a track we randomly stumbled across this year. Reflecting on themes such as identity and conformity, the track is an absorbing number that you will become addicted to.

‘Sophie’ by Arlo Parks
A lot of magical music has come from the London-based up-and-comer this year and we wish we could fill our list with all of them. ‘Sophie’ is of the many tracks by Parks that we felt drawn too.

‘1800-MUM-DAD’ by Lupine
Melbourne-based band Lupine always delivers and their song ‘1800-MUM-DAD’ is one that we still have on loop. The single has been etched in our minds since they released it earlier in 2019.

‘Big Time’ by Football FC
‘Big Time’ was another track that we came across randomly and we were blown away as soon as we heard it. The single was a mighty offering by the band, who have big things coming their way.


‘Knife on the Platter’ by BODEGA
The compelling track features an intriguing mix of post-punk and some BODEGA magic and it's a combination that never fails.

‘Teeth’ by Working Men’s Club
Working Men’s Club shared this shadowy and ominous slice of heaven and it’s one that’s impossible to shake off — all you can do is dance it out.

‘I Wanna Be Your Girlfriend’ by Ezra Furman 
Furman’s swirling and heartfelt single ‘I Wanna Be Your Girlfriend’ still gives us chills as soon as we press play.

‘Waiting On The Moment’ by Jonathan Bree 
Dripping in melancholy and nostalgia, ‘Waiting On The Moment’ always makes us stop and ponder. Jonathan Bree is a master of finding beauty in the bleakest and darkest of moments.

‘Adderall’ by Egyptian Blue 
Named accordingly, ‘Adderall’ is chaotic in the best way possible. The jittery track paints a picture of someone who is desperately crawling out of their skin.

‘Dead of Night’ by Orville Peck
Orville Peck, 2019’s number one crooning cowboy, will have you shedding a tear with his stirring number ‘Dead of Night’. The song has the heart and spirit of another time.

‘Wide Eyed’ by Charlotte Spiral
This delicate and tender debut track by Charlotte Spiral will leave your heart in a flutter.

Written by Kristy Smolcic 

You can listen to all our favourites from 2019 in our new playlist: