EP Review: Young Thug – On The Rvn

Tuesday, September 25, 2018

One of hip-hop’s most enigmatic figures, Young Thug, has shared his latest offering, an EP entitled On The Rvn. The EP follows a stream of releases from the Atlanta rapper this year, including his album Slime Language (released in August) and EP, Hear No Evil (released in April). Though it’s not without its flaws, On The Rvn gives listeners a taste of the finer elements of his unique style of rap.

The EP opens up with the title track, which talks about running from the cops. The opening track’s placement (and the title) may be deemed as strategic given he recently had some problems with the law with drug-related charges. The track was produced by long-time collaborator London on da Track, who boasts three production credits on the EP, and Cubeatz. Unclear whether the track is intended to be an intro, its length feels too long and repetitive. Aside from its lengthy nature, the production is solid and its marriage with Thug’s melodic rapping style is a desirable match.

On the next track ‘Icey’, Thug plays with tone and breaks into singing-mode. Though the lyrics are often difficult to hear when he starts singing, it’s a technique he has perfected over the course of his career. On ‘Icey’, he manipulates the track’s flow and talks about being wealthy.‘Climax’ features 6lack, and is somewhere in-between a down-tempo and mid-tempo track. Again, we see Thug move between singing and rapping with ease. Its instrumental merges shadowy trap percussion with the delicate strum of the guitar, and it’s intriguing. It would have been a nice addition to his previous mixtape, Beautiful Thugger Girls. ‘Real In My Veins’, which appears towards the end of the EP, is a personal and reflective track that sees Thug muse about his own identity and current life events.

If you’re a fan of Thug’s heavy hitting trap releases, the EP’s next song ‘Sin’ will satisfy all your needs. ‘Sin’ is classic Thug, but much more polished and improved. Produced by London on da Track, ‘Sin’ is ferocious. The electronic drums are powerful and the darkened beats are absolutely entrancing. Thug raps in a low, yet confident, tone and his ability to ride a beat as powerful as London on da Track’s creation is a testament to him. Jaden Smith, who features on the track, is a welcomed addition to ‘Sin’.

The EP concludes with the unlikely sounds of Elton John’s ‘Rocket Man’, which has turned the classic hit into an ode to getting high. ‘High’ is a fitting way to end the EP, and though the combination may seem odd, it works beautifully.

On The Rvn might not present anything groundbreaking by the rapper from East Atlanta, but it does succeed in providing a diverse collection of sounds reminiscent of his best releases from the past.

Written by Amy Smolcic (@amysmolcic)

Premiere: Strangers for Sale – 'Set in Stone'

To celebrate the release of their debut EP, we're thrilled to share Strangers for Sale's new track 'Set In Stone'. The four-piece, who are all good friends, have been busy polishing and developing their EP in between playing the occasional live show around town.

'Set In Stone' features a groove that's consistent throughout the track's duration. There's also tasty riffs galore, which sets the track alight. The vocals also elevate the track's energy and take it to another level.

You can listen to 'Set In Stone' by Strangers for Sale below:

You can catch Strangers for Sale launching their EP this Friday 28th September at 303, Northcote.

Now Playing: Generationals – 'Days Alone'

Monday, September 24, 2018

New Orleans duo Generationals are on a dazzling winning streak this year and their new single 'Days Alone' is further proof of this. 'Days Alone' follows in the footsteps of their previous single 'It May Get Bad When You're Lonely and Cold' — and though there's no official word if they are leading up towards a new album, we're always craving more from Generationals.

'Days Alone' sounds like a lush wonderland, designed for days of basking in the sun. The track's uplifting synths help create this ever-present summerlike energy. The duo also shine with their delectable vocal harmonies, which satisfy all your sweetest cravings — which is something Generationals are always incredible at.

The duo also shared the music video for 'Days Alone', which you can watch here. It's always a good day when Generationals share something new and their latest single is another slice of why they're just so damn good.

Written by Amy Smolcic (@amysmolcic)

Feature: The Anatomy of 'Alright' with Alpines

With the release of their third album Full Bloom fast approaching on 16th November, Alpines recently shared a preview of what's to come with their single 'Alright'. Catherine and Bob from the duo break down the inspiration behind their latest single for us.

We wrote 'Alright’… and had a feeling it would make the album. It has that very direct and powerful quality to it which is hard to ignore and put on the back burner. It comes straight from the heart with no detours.

The story behind ‘Alright' is… both heartbreaking and hopeful. It was written because there is a lot of pain, but it is also a realisation that you are never alone and it’s okay not to be okay.

My favourite lyric is…
Catherine: ‘I’ll be tearing up these streets just to tell you it’s alright’, is my favourite lyric because it represents that desperation and recklessness to get to that person you love above all else to be there for them, in that moment nothing else matters.

Bob: "If you know that time is short, why you wasting it?” makes me think of how many people are accepting of situations that don’t work for them, just because sometimes it’s easier to bury your head in the sand and ignore what is really going on around you.

It was made… over two years ago in our studio after watching the first series of The OA on Netflix.

Our main inspiration was… to write something straight from the heart to reassure people it’s going to be okay. We all need to hear it sometimes. Also, the American suburban landscape setting Brit Marling had conjured up in The OA and the variety of characters in the series created a mood board when we were writing the track. This was also interwoven with memories of being a teenager, the struggles you face growing up and all-consuming power of first love.

It sounds best when… you need reassurance that’s it’s going to be okay, even if everything feels hopeless. It’s a song to remind you to keep going, the hard times will pass.

If you're in London on 15th November, you can catch Alpines at Rich Mix. More information is available here

(Photo by Cyrus Mahboubian)

Now Playing: Milan Ring – 'Drifting'

One-woman powerhouse, Milan Ring, is back again with her single, ‘Drifting’. The release is part of an impressive line of alt-R&B hits in 2018, and we can’t get enough. While amassing production credits with greats, such as SZA and Change the Rapper, the Sydney artist is setting her own tone in Australian music; one of heavenly neo-soul 90s R&B fused with electric-soul.

‘Drifting’ will have you hypnotised from the moment you press play. The track is an ode to “the frustration one can have with someone who is unable to move forward, but the patience and love one must have in order for them to grow”. The single seamlessly blends electronic elements of steady kicks and warm keys with bursts of horns and percussion throughout. Milan Ring’s layered vocals only elevate the track further, with cool R&B undertones and mature lyricism.

In celebration of her recent signing to tastemaker label, Astral People, Milan Ring will be launching her latest hit on Friday 26 October in Waywards, Sydney. This is something you won’t want to miss.

Written by Hannah Woodfield

(Photo by Gianna Hayes)

Interview: Sahara Beck on balancing her personal identity and creativity

Sunday, September 23, 2018

In the thick of BIGSOUND, I met Brisbane-based artist Sahara Beck. We sat down in a quiet cafe with cake and coffee to chat about her new release ‘Here We Go Again’, what inspires her and playing live.

Music is one of those career paths that grow alongside you as a person. You have been doing music since the very young age of thirteen — if you could go back in time, what advice would you give Sahara Beck?

I would've told myself to not be intimidated by other people. I thought when I heard someone better, it meant that I wasn’t good. I had to learn to stick to what I’m doing personally and to believe in myself. Doing music is hard enough already — artists should support and bring each other up instead of being in competition. We always need more music!

I agree — music can just bring such great things to people’s lives. So the more the better! It also has such an amazing ability to create human connection. Can you recall a moment music did this to you?

Creating those connections is why I started. My Mum used to always take me to gigs, and one year we saw The Cat Empire and Harry was singing this massive note in this tent full of thousands of people and when I was looking at him, it felt like nothing else existed. It was the most powerful feeling — it's something you can’t put your finger on and when I looked around, I realised that everyone was feeling that. He was doing something that was obviously so natural to him, but he was changing everyone's mentality for a moment. That’s why I’ve always been really conscious of my live stuff because it needs to make me feel something and not just sound like the record.

On the subject of bringing your music into a live setting, do you prefer them being two separate experiences for the audience?

With the older stuff, there were lots of songs we played that were never recorded. But with the new stuff, I’m actually quite nervous because we’ve never played any of these songs and we’re doing it in a really different way. Also, sometimes I sing differently — maybe lower than in the tracks. But I feel that’s okay if you are still able to convey what the lyrics are about.

Would you say that artists that can change up their sound from recording to live inspire you?

I think it’s something I admire a lot — when people can pull off different ways of playing the same song. It's a skill and a talent and means you understand the song so much. Though, I think I get more inspired by people who sing really well because it sucks when you hear a record and it sounds perfect, but they can’t do it live. When we wrote ‘Here We Go Again’, I realised it was actually so high for me to sing live — But it’ll be okay. I can just sing a couple of notes differently.

Speaking of your new single ‘Here We Go Again’, what would you say was the most challenging part about writing the song? 

The most challenging part about writing it was that it was really personal for me and I think it's just challenging finding a way to describe what it's about without talking about specific situations and pulling people down.

Music is such a personal venture, how important is it that you have your personal identity in your releases? 

I think it’s really important. Music is supposed to relate to other people and if I’m not being honest about how something is making me feel, when someone listens to it, it will come across disingenuous or fake.

It’s clear that your music pulls a lot from your personal experiences. Being a musician, you have that amazing ability to get inspiration from anything. What would you say are your top three sources of inspiration? 

I always have my phone with me and if I’m at a party, I get chatting to people and would want them to tell me their days in detail. People can say poetic things when they’re drunk without realising it. Like the other day, my housemate's boyfriend said: “The love is gone but the desperation continues”. I was like, 'is that from one of your songs?' He said, 'no'. So I asked if I could use it and I ended up typing it into my phone. So talking to drunk people, things that happen to me and mainly just looking at a situation and thinking, 'oh, this could make for a good story'.

Well thank you so much for speaking with me today! It was a really enjoyable chat!  

Thank you for chatting with me!

Written by Roy Gordon (@yorgordon

You can catch Sahara Beck at the below shows:
Friday 2nd November - Oxford Art Factory Gallery Bar, Sydney NSW
Saturday 3rd November - Grace Darling Hotel, Melbourne VIC
Thursday 8th November - Black Bear Lodge, Brisbane QLD

More information is available here 

Album Review: Christine and the Queens – Chris

One of our biggest faults as primarily English-speaking music enthusiasts is not listening to enough foreign music. It’s no secret that there are many incredible artists out there who we don’t hear on our radio waves and rarely find neatly inserted into a Spotify-curated playlist. Despite this, get ready to hear about Christine and the Queens, moniker of French electronic musician, Héloïse Letissier, a whole lot more.

Letissier’s sophomore album, Chris, was released in both English and French — it’s up to us how we consume her music and ideas. Both have benefits and shortcomings. A personal preference of mine is not listening to foreign artists singing in English, because I hate to think that they’re assuming this language because we won’t listen to them in any other way; we should listen to foreign languages and sounds, to the way the artist performs the emotion in their lingua franca — it tastes different. On the other hand, to listen to Chris in French would be to miss all the beautiful and poignant lyricism (though listening to her strong, French accent, as lovely as it is, in English does require some lyrics to read along with to pick up on the subtleties). Pick your poison.

With her comeback, Letissier is taking on a new persona: the eponymous Chris. Fans of her first album, Chaleur Humaine (2014), and the highly stylised and choreographed videos that accompanied it, will immediately notice the androgynous transformation that was only previously hinted at with Letissier’s fashion and dancing is now complete. Chris explores this feminine masculinity or masculine femininity. It’s much less reserved and less poised than Chaleur Humaine, the songs on Chris inspire you to either get up and boogie along — particularly ‘Girlfriend’, featuring American funk musician, Dâm-Funk — or thrash around, but none will make you want to sit and ponder. This is an album with energy to exhume.

The album begins with THX’s ‘deep note’, hinting to the fact that the songs we’re about to hear all form a larger story. When Chris begins, we’re in funk territory. ‘Comme si’ and ‘Girlfriend’ will satisfy all your electronic-funk, pseudo-retro needs. ‘Comme si’ is cute and romantic, ‘Comme si on s'aimait’ she sings, ‘When you play me loud me, baby / Comme si on s'aimait / When you play me fast’. Chris is more outwardly sexual than anything else Letissier has done. ‘Fuck is me, fuck is you’ is a great exclamation from ‘Girlfriend’, which leads Letissier into the chorus, ‘Girlfriend, don’t feel like a girlfriend’. The songs here are sexual but there is no calm sultriness to them, underneath it all you can feel a sense of restlessness and violence. Similar in sentiment is ‘5 dollars’, which has a very sweet melody and vocal performance, but the lyrics hint at pain: ‘some of us just had to fight / for ever being looked at right … you’re eager and unashamed / I grieve by dying every night baby’. Accompanied by a video showing Chris — the character — dressing in bondage gear, with a crisp suit over the top, this song can inspire many interpretations of sexuality, pleasure and the grief that comes with feeling unseen.

The unique tinge in Letissier’s vocals is best heard in ‘What’s-her-face’, a vulnerable, soft song about always feeling left out and different. What makes this song feel so powerful and stripped back is its placement in the album. By now we’ve heard all the aggression, all the tension of identity, we’ve just experienced ‘Damn (what must a woman do)’— a song with a relentless beat about having sex with, well, lots of different people, ‘I’m worn out but I want some more / naked with an open door / encore, encore’. ‘What’s-her-face’ is tender, but still there is a restlessness underneath, you can almost feel the backing vocals trying to break free to the surface.

Chris is an album that doesn’t shy away from the multifaceted nature of one person’s identity. Through the persona, Chris Letissier gets to play and explore various parts of her femininity, masculinity and sexuality.

Written by Irene Bell

Feature: The Ingredients of 'Home Life' with Horror My Friend

Saturday, September 22, 2018

Adelaide-based trio Horror My Friend dropped their second album Home Life yesterday and it's a doozy. Tom Gordon from the group gives us the scoop on how the album came to life.

DIIV – Is The Is Are
This album has been a huge influence on me musically in the last year or so, both in terms of guitars, vocals and general songwriting. To be honest, when DIIV announced they were releasing another record amidst a lot of drug-related controversies, I didn’t think it was going to be the best, but it is 100% one of my favourite albums of all time now.

Torrensville – Adelaide
The content of, especially the lyrical content of this album, is mostly to do with the breakdown of a long-term relationship, all of which whilst moving out of home for the first time and spending the majority of my time in Torrensville and its surrounds. The area, the house I lived in and certain streets still remind me of the particular time and is really special for that reason.

If it’s not offset, get the fuck away from Josh and I. We are still in arguments about whether Jaguars or Jazzmasters are better (it’s Jags).

Sam Kolesnik’s Watermelon Drumkit
Sam now has a drum kit that has dark green outside and red skins, it’s ridiculous, but so is Sam. You can see it in the clip for 'Pavement' if you like.

Not taking ourselves too seriously
We are not cool guys. We’ve tried to pretend to be moody shoegaze/punk guys, but it doesn’t work and it’s pretty obvious that we are not cool as soon as one of us opens our mouths. Also, all of my favourite bands have had a sense of humour about themselves, e.g. Gerling, Sonic Youth, etc.

You can check out Home Life by Horror My Friend below:

You can catch Horror My Friend (joined by Sweater Curse) at the below shows:
19th October - Rad Bar, Wollongong
20th October - The Chippo Hotel, Chippendale
26th October - Fowlers Live, Adelaide
27th October - Bloodhound Bar, Brisbane
28th October - The Tote, Melbourne
More information is available here

Interview: Edward R. on Finding His Sound

I sat down with Melbourne-based artist Edward R. at this year's BIGSOUND festival and we delved deep into his writing process, his single ‘Paradise’ and what we can expect from his forthcoming EP Body Corporate.

You released a single called 'Paradise' a while back. How would you explain the song to someone who hasn't heard it before?

If you're going on a road trip and you want a good cruiser or a summer song. Coming into the season now, I think it's going to be a good little pick me up.

'Paradise' is a song where you and your band really figure out how to marry synth with guitar rock. What were your influences on the track? 

A lot of Roy Ayers and a band called Laid Back. That kind of real 70s/80s with funky guitars, 7ths, and crazy synths — very psychedelic-jazz, in a way. You can see the influence in my synth choices, especially the one in the chorus of 'Paradise'. My old folk stuff, Agrabah, is great but I'm never gonna do that again. I just wanted to shift into what I normally would write because I've always been into the synth band sound.

So just becoming more true to yourself and what you actually want to put out there?

Yeah! Not that Agrabah wasn't — that was super hard on the sleeves, but I just wanted a bigger sound live. Something I can play with the band that rocks a bit more — not just where everybody stands there and looks at me, kind of thing.

Some bands play around with their music live and some keep true to the recordings. How do you approach bringing your music from recordings to live? 

I try to replicate the sound of what you hear recorded as close as I can live. Though I'll kinda ad-lib different melodies and extend some sections because they feel groovy, but mostly it stays true to the record.

What's your favourite aspect of releasing music? 

It's so rewarding when you work so hard getting these songs together. For me, this EP realistically took a year. Just going from writing it and then into the reward of actually getting a song out there and people hearing it and connecting. I love when people listen to a song and message me because they had a connection to a track — it makes all the inner turmoil worth it.

Music ends up being a personal release by the end. How important is it to have you as a person within your releases?

I try to have my heart on my sleeve. A lot my music is super honest and even more so than on the last EP. I'm just trying to be a lot more real.

In your songwriting craft, what do you lean towards more, musicality or emotion?

For me, it's hand-in-hand. I don't try and lean towards one rather than the other.
I try to be quite complex about the songs and I overthink them like crazy. Like 'Paradise' for instance, that key change into the chorus was fully on purpose to lift the track. Everything has been thought about with the emotion of the lyrics in mind.

You mentioned an EP earlier. What can listeners expect from it?

So the next single is coming out in the next couple of weeks *. This is my favorite one from the record. It's actually one of my favourite songs I've ever written. It just accomplished so much for me musically. The EP itself is coming out soon. There's a lot of differences on it from the last record. It's not similar at all but in the same token, it is. It's still very much Edward R. — just the arrangements have changed and you could still strip them back and I could play them folky. There's a very electronic song in there. Then there's the big cinematic songs and ones with a similar vibe to 'Paradise'. Also a track that's a bit more shoegaze. I just want to branch out a little bit more, and try not be boxed into folk.

*(note: the interview took place before the release of his new single 'Why Won’t You Love Me?' Check it out below!)

Sweet, I’m looking forward to it! Thank you for chatting with me today!

My pleasure!

Written by Roy Gordon (@yorgordon

Edward R.'s EP Body Corporate will be released on 12th October.

You can catch Edward R. during his Body Corporate tour this November:
13th November - The Workers Club, Melbourne 
15th November - Oxford Art Factory, Sydney 
21st November - Black Bear Lodge, Brisbane
23rd November - Solbar, Maroochydore
28th November - The Gasometer Hotel, Melbourne 
More information is available here

(Photo by Sam Wong)

Feature: The Anatomy of 'My Hands' with Jack Gray

Friday, September 21, 2018

Today, Australian singer-songwriter Jack Gray unveiled his new single 'My Hands'. 'My Hands' is a follow-up to his previous single 'Red Rental Car', which racked up over 1.1 million streams. Currently on tour with Dean Lewis in Europe, Jack gives us an insight into the inner workings of 'My Hands'.

I wrote ‘My Hands'… With my mate in a few hours. It felt really natural and it was just one of those songs where all of the parts fell into place really quickly.

The story behind ‘My Hands' is… One of my good friends opened up to me about his love life at the time. Basically, he felt really confused about his feelings for this girl because a lot of the stuff she did, annoyed the hell out of him. However, something about her and her way with words was keeping him in. But I prefer the idea of lust outweighing the unhealthy relationship and the toll that took on him…

My favourite lyric is... “You talk too much I can’t keep up” because it’s something my mate said to me when we were talking about it all. I think it feels super relatable even in a general sense too. Like I can’t keep up with half the shit people have to say to me…

It was made… In a caravan on the Gold Coast. I wrote the song with my bro Zekiel, who is an Aus hip-hop artist. Over the next few days, I went home and finished the production in my bedroom.

My main inspiration was… My friend and his partner. He opened up to me about how he was feeling and I went and told the world about it, haha... sorry man!

It sounds best when… You’re in a good mood.

You can listen to 'My Hands' by Jack Gray below:

Premiere: Alphington – 'Jason, Jesus Loves You'

Melbourne band Alphington have released their debut single and video ‘Jason, Jesus Loves You’ today and it’s a special one.

It’s a song ultimately about lost love; being too scared and too young to admit that you want someone. Singer and lyricist Alif Thomas Dodds wanted to make Australian music, fit with references of the Great Ocean Road and Torquay, weaved with their Muslim background. Teaming up with Jules Pacoe of Jazz Party and Jaala fame and Angus Leslie from Sex on Toast, Alphington have made something akin to the likes of Sufjan Stevens and Bright Eyes.

The track is a strong introduction to the depth of Alphington’s earnest, warm sound.

Written by Anita Agathangelou

You can catch Alphington playing with Cold Hands Warm Heart tomorrow 22nd September at
Yarra Hotel Abbotsford. Click here for more information.

(Photo by Joey Durkin)

Listen: Local Gems of the Week – 21.9.18

This week has been absolutely huge in the Australian music world. Here's our serving of some of our faves from the week.

San Mei – 'Heaven'
'Heaven' is another glorious serving from her upcoming EP, and we can't get enough.

Crepes – 'As You Go'
We could listen to 'As You Go' all day and never grow tired of it.

FeelsClub – 'Broken'
FeelsClub continues to impress and 'Broken' is just so damn good.

Robbie Miller – 'Baby'
'Baby' is truly enchanting.

Jackie Brown Jr – 'Best Friend'
Jackie Brown Jr bring the grooves on 'Best Friend', and you'll be jammin' this one all weekend long.

Bakers Eddy – 'Leave It To Me'
High-powered goodness, what's not to love?

Emerson Leif  – 'Twenty2'
Listening to this alluring tune will make you feel like you're floating.

Bri Clark – 'Giving Up'
Bri Clark's vocals will leave you covered in goosebumps.

Slow Talk – 'North'
Atmospheric, poignant and captivating.

YOMAEZ – 'I Hesitate'
Raw and candid, Adelaide's YOMAEZ shines yet again on 'I Hesitate'.

Feature: The Ingredients of 'Super Love Brain' with Richard In Your Mind

Richard In Your Mind has just shared their highly anticipated fifth LP Super Love Brain. Richard Cartwright dives into the story behind the album and the ingredients that helped bring it to life.

My bros/the band:
We have been playing really well together as a band and this helped the new songs to leap into life.
This album saw a new line up, with OG founding member Conrad Richters, many year members Richy Cuthbert, and Jo Muller, and new to the crew Carlos Adura on drums.  Our original drummer Pat moved to NY after the Ponderosa tours, so we were ready to make new music and when Carlos came in it just clicked into place. New ideas formed really quickly which was really fun and just encouraged writing.  Conrad is such a wizard making the Kawai analogue synth do beautiful and crazy things, plus he knows how music should sound as a genius arranger, Richy is such a strong guitarist and singer and knows all his harmonies so well,  Jo knows his bass backwards, and knows how to play along to a song almost instantly, (plus as a Vibe King there is no equal) and it’s as if Carlos has come down from the mountain after receiving the sacred knowledge.  He is sooo good! It’s his instincts that really take it to the next level, technically he’s a madman, but his choices and feel are like he can see the future and read minds. Anyway, with a crew like this, it’s just like, yeah let’s go!

The chilled out Songs of Captain Beefheart:
I was not the biggest Captain Beefheart fan really but I decided to delve into his catalogue. There is certainly a time and place for all his exploratory mad vision quest explosion music, but along the road I found there were a few chilled out sparkling diamonds. I made a compilation called BeefheartChill, including tracks like 'Observatory Crest', 'Her Eyes are a Blue Million Miles', and 'My Head Is My Only House Unless It Rains'.  I wound up listening to this compilation a lot. I love his sincerity, and humility, and his rhythms and all the beautiful guitar layers.  That melodic layering and unique playing I think I tried to absorb on Super Love Brain and also lyrically trying to keep things simple and honest.  I’ll have to do a playlist thing and share it round coz I think Beefheart is chill and Beautiful :)

The Duncan Trussel Family Hour Podcast:
Duncan is an amazing psychedelic, spiritual, comedian, podcast guy that interviews loads of different people from scientists, Buddhist teachers, psychedelic researchers, Satanists, comedians, anyone who has something interesting to say. He often goes into these spiralling image-drenched surreal rants that are really fun and like mad poetry.  I don’t listen to many podcasts but his I do habitually.  I think hearing discussions about existence and meaning and death and reality, helps put in order all the loose thoughts and notions I have rolling around my brain.  So I think inevitably some of the themes and ideas from his podcast come out in the lyrics and approach to what kind of music I like making.

Loss is pretty heavy and pretty inevitable.  A couple of the songs go to a yearning place, in different ways.  'Valley of the Ravers' is about the loss of golden youth and bliss,  the point where you realise your life is changing and the direction you were headed isn’t all a golden ecstatic revelation trip.  Change and stuff, stop partying like mad coz it’s not the whole picture, why can’t you build something? It’s about a part of my life that was golden but we had to let it go, in case we destroyed ourselves.

'Josephine Dream' is a surreal song for me, I didn’t know how to deal with the fact that an eleven-year-old girl I knew from when I worked in an op shop had ended her life.  Her teacher came in and told me one day because she had seen her hanging around the shop a bunch and knew we were friends.  Anyway, I still don’t know how or why things like this happen and how to sort it out.  But I was zoned out thinking about it and played the main guitar line for this song.  Music can sometimes help you sort out things, be creative in the face of destruction, I don’t think this song fixes anything, but I wanted it to be OK, I wanted to think things must be better for her now, I wanted to remember how funny and spirited she was, I wanted hope to be in there somewhere, even though I guess, for her, she couldn’t find it.

A loving Relationship:
My wife Katie and I have been together for 17 years or so and we live in the Blue Mountains and now have a 9-month-old daughter, Juniper. We weren’t going to have kids because we were pretty happy doing our thing, but certain aspects of our life started to align and the idea started to form that maybe this would be a cool thing.  The main thought that led this was that we were happy.  Don’t get me wrong we’re still as crazy and anxious any respectable human should be, but the waves are gentler these days.  And that dawning realisation that we have a good thing going on, and that it’s solid, permeates a bunch of the songs.  'I Hope You Weren’t Waiting Long' and 'Little Known Someone', especially are about learning to be happy right where you are right now, and feeling free because you have a cool real love. Though most of the songs were written before we knew we were having a baby, the state of mind that helped us make that decision was a backdrop for lots of the music on the record.

Super Love Brain is available now! You can stream it below:

Super Love Brain is also available via their Bandcamp

You can catch Richard In Your Mind live at the below shows:
17th November - Petersham Bowling Club, Sydney (tickets)
22nd November - ACMI, Melbourne (Free show)

Now Playing: Ruby Fields – 'Dinosaurs'

Thursday, September 20, 2018

It’s been a massive week for Sydney artist Ruby Fields. Not only has she been announced on the Laneway 19 lineup, but she’s shaken up the music industry with her latest single ‘Dinosaurs’, and we promise it will make you fall in love with a whole new side of Ruby Fields.

The drop of her emotionally fired single ‘Dinosaurs’ is one of the sweetest blessings of the year. The track is a perfect reflection of her progression as an artist and maturity in her songwriting. Ruby Fields shows off a different side to previous singles ‘P Plates’ and ‘Ritalin’ with gorgeous vocals and a hint of true vulnerability.  The song gives listeners an insight into a deeply personal and emotional journey with its endearing openness – “I'm scared of the fact I've been to more funerals in my life than weddings / yeah I've lost some close mates of mine”. In true Ruby Fields style, the track hits with a final bang of confidence and power.

‘Dinosaurs’ is an alluring teaser of what's to come on her forthcoming EP.  And for now, we’ll be happy binge listening ‘Dinosaurs’ on-repeat.

Written by Montana Mincher (@montanammincher)

(Photo via Ruby Fields' FB)

Now Playing: Demo Taped – 'Everyone Else' (feat. Jaira Burns)

We're always excited when Atlanta electro-soul artist Demo Taped (the moniker of Adam Alexander) shares something new, and this time it's his single 'Everyone Else', which features the extremely talented Jaira Burns.

Demo Taped's new single is an ode to modern-day love and the pressures associated with it. On 'Everyone Else', he talks about feeling forgotten when everyone around him is glued to their screens. He notes that we've been conditioned to constantly sift through social media to see what our friends or crushes are doing, and as a result, we can sometimes lose track of reality.

You can listen to Demo Taped's new track (feat. Jaira Burns) below.

Written by Amy Smolcic (@amysmolcic)

Now Playing: Emerson Leif – 'Twenty2'

After a busy year, Emerson Leif is back at it again with his new single 'Twenty2' — which is a sedative track inspired by cool summer nights.

The track's title 'Twenty2' is meant to represent the time left until the clock hits midnight. The purpose of 'Twenty2' is to capture the carefree energy and thrill of creating memories during the night. The single is electro-chill goodness and the gentleness of the production leads to instant relaxation. Emerson Leif's smooth vocals gracefully glide over the track's magnetic soundscapes splendidly. In a statement, he notes that the song was written whilst travelling on a plane, and feeling inspired by looking down at the world below.

If you happen to be feeling burned-out by the ways of the world, let 'Twenty2' wash away your troubles.

Written by Amy Smolcic (@amysmolcic)

Premiere: Robbie Miller – 'Baby'

Brisbane-based singer-songwriter Robbie Miller is set to release his new single 'Baby' this Friday and we're so thrilled to bring you a stream of it today.

Robbie Miller has racked up an impressive resume over the course of his career — he's a National Indigenous Music Award (NIMA) winner, has toured with his own shows and supporting shows, done Groovin' The Moo, St Kilda Festival, Woodford Folk Festival, BIGSOUND, and he works as a mentor for AIME (which is an organisation that offers mentoring for disadvantage suffered by Indigenous Australians).

His new single 'Baby' is a raw number discussing the commanding force that is love. On the single, he says that 'Baby' "is a song about seeing someone in a room and falling for them. And it’s a true story". Through his soaring vocals and sincere lyrics, he captures the hypnotic force that is love and attraction and showcases why his musicianship is so special. The single is a taste of what's to come on his highly anticipated debut album, due for release early next year.

'Baby' will leave you smiling all day and you'll enjoy every second of it.

Written by Amy Smolcic (@amysmolcic)

Now Playing: Dahlia Sleeps – 'Storm'

Dahlia Sleeps, who is based in South London, unleashed their new single 'Storm' today and it will leave you feeling mesmerised. The single is the first release from their forthcoming EP Love, Lost,  which you can expect to hear at the end of the year. Along with the exciting announcement of new music, they've also signed with Beatnik Creative.

Immensely heartfelt, listening to 'Storm' is set to leave you with an abundance of feelings. Lyrically, their words are exquisite, especially lyrics such as "You only call when the night can cover us / you only come around here to dream / and I've been feeling things that I can't cover up / just tell me it's not as it seems". Lucy Hill’s sincere and profound vocals capture the track's narrative. Luke Hester's atmospheric production is a glorious combination when mixed with Hill's soulful vocal tones.

Until we're all gifted with their EP Love, Lost, we highly recommend that you devour 'Storm' over-and-over again.

Written by Amy Smolcic (@amysmolcic)


Dahlia Sleeps has also shared the music video for 'Storm', you can check it out here.

Now Playing: Linn Koch-Emmery – 'Don't sleep on my luv'

Wednesday, September 19, 2018

If you're desperately in need of a dose of some energy, look no further than Linn Koch-Emmery's vivacious single ‘Don’t sleep on my luv’. The up-and-comer from Sweden is also set to release an EP soon, and if 'Don't sleep on my luv' is evidence of anything, it's that the release is going to be absolutely exhilarating.

The track features high-powered and blazing guitars that work to set the track alight. The percussion on 'Don't sleep on my luv' is also mighty and dynamic throughout the entire track, adding to its overall ferocity. Linn Koch-Emmery's vocals also possess a magnetic quality and work masterly with the rest of the elements.

Linn Koch-Emmery once again shows us all why she's one to watch.

Written by Amy Smolcic (@amysmolcic)


(Photo by Jasmin Storch)

Feature: The Anatomy of 'Summer Rain' with Carmody

South London singer-songwriter Carmody dazzles on her newly released single 'Summer Rain'. The soulful track sees Carmody fuse R&B influences with truly magical songwriting. She took some time out to share the story behind her new single with us.

 I wrote 'Summer Rain'… because I knew I had a love song in me, it was bubbling beneath all the ache that lost love can bring.

The story behind ‘Summer Rain is… I wanted to connect the fleetingness of a warm downpour in the summer, with that feeling you have when you fall in love and you live in your own beautiful bubble together for a while.

My favourite lyric is... 'Is this dreamwork, weaving patterns of light into each day'

It was made... between South East London and Chicago, with the very talented writer/producer Rahm Silverglade. We wanted to inspire people to take up dancing in the rain.

My main inspiration was... my 5-year old self, who's always enjoyed the rain and falling in love.

It sounds best... when you're wandering around London in rainy sunlight or driving somewhere dreamy with the windows down.

If you're in Germany this October, Carmody will be appearing in Berlin and Hamburg. Click here to find out more information.


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