SNIPPETZ: THURSDAY June 13, 2026
This week’s Snippetz includes: Milina Mihic, Shumo AG, Thrashville, Charlie Ivan, Ernie Garland Jr, Adam Lambert, Ken’ Mo’, Electric Callboy, Steph Honde, Blood Command, Half Me, Hopsydian, Ashley Naylor, No PROMISES, Hermanos Gutiérrez, Brittany Elise, Two Tone Pony, Holly Throsby, Modest Mouse, Andy Jans-Brown and Cameron Spike-Porter, Takara, Interpol, Becca Hatch, To the Grave, Holly Hebe and more
MILINA MIHIC RETURNS WITH HEARTBREAKER NEW SINGLE STAY WITH ME
Sydney singer-songwriter Milina Mihic releases her long-awaited new single, Stay With Me, a nostalgic and emotionally charged track that explores the complexities of relationships, accountability, and the longing to be truly understood.
Known for her dreamlike storytelling, vulnerable lyricism and richly textured soundscapes, Milina Mihic creates music that feels both intimate and cinematic. Drawing influence from artists including Jeff Buckley, Phoebe Bridgers and Elliott Smith, her work inhabits a fragmented emotional world where memories blur, truths shift, and human connection remains at the centre of every story.
Stay With Me showcases Milina’s warm vocals, intricate production choices and evocative orchestral arrangements, balancing moments of anxiety and desperation with unflinching self-reflection.The result is a song that feels both deeply personal and universally relatable. Alongside the new single release, she also announces that her debut EP, ‘The Man You Remember’, will release on July 21.
“It feels amazing to be releasing Stay With Me,” says Milina. “I wrote this song when I was 17 and have constantly been working on it since then. I am honestly a little bit sad to let it go, but so excited for everyone to hear it in its final form.”
At its core, Stay With Me explores the pain of not being given the opportunity to explain yourself within a relationship, whether romantic, platonic or familial.
“Stay With Me is about not getting the chance to better yourself in a relationship,” Milina explains. “There have been many times in my life where I’ve felt as though I never got the chance to explain my side of a story. It’s hard when your actions are taken at face value and there is no benefit of the doubt.”
“I also wrote this song about realising it takes two people to ruin a relationship, and coming to terms with the fact that yes, I can be wrong, but I don’t need to be the villain. This song became a part of my story when I was 17 and first navigating relationships alone. It was my anthem then, and it’s my anthem now.”
Beyond the release of Stay With Me, Milina is preparing to unveil her long-awaited debut EP, The Man You Remember, arriving July 21. Four years in the making, the project represents a significant milestone in her artistic journey.
“It is something I am so insanely proud of,” she says. “There have been lots of tears and so much hard work poured into this EP, which makes it even more exciting for me. It’s been four years in the making, and I can’t wait for people to finally hear it.”
Stay With Me is out now
https://www.instagram.com/milinamihic/
14-Year-Old Aussie SHUMO AG Teams Up With International Hitmakers Batas Senja ‘Iron Veins’ Out Now
At just 14 years old, Queensland singer-songwriter, guitarist and multi-instrumentalist Shumo AG is juggling the demands of high school while making remarkable international strides in music.
Written by Shumo AG, his powerful new bilingual single ‘Iron Veins’ sees the young Australian artist join forces with one of Indonesia’s biggest bands, Batas Senja, on an ambitious cross-cultural collaboration that bridges two musical worlds. Stream ‘Iron Veins’
Already recognised as an extraordinary young musical talent, Shumo has written more than 16 original songs spanning pop, indie rock and melodic rock, while developing a distinct sound shaped by expressive electric guitar work and emotional songwriting.
Despite his age, he already has a stack of awards and has performed on major international stages, including MTV School Fest in front of 40,000 people and Mega Booming to audiences exceeding 20,000, while also building a substantial online following of more than 650,000 across social media and over 50,000 monthly Spotify listeners.
Now for ‘Iron Veins’, a track that features English vocals from Shumo AG alongside Indonesian lyrics from Batas Senja, the release reflects Shumo’s growing international reach and the powerful connection his music has built across borders, from France and Brazil to the United States and particularly Indonesia.
The collaboration itself marks a defining moment in Shumo’s career, with Batas Senja, one of Indonesia’s most celebrated acts and home to approximately 9.5 million monthly Spotify listeners, connecting with Shumo’s original composition. Their breakthrough track ‘Nanti Kita Seperti Ini’ has surpassed 492 million Spotify streams and 135 million YouTube views, while their track ‘Kita Usahakan Lagi’ reached #1 Trending on YouTube Indonesia.
Across three months, the artists worked together to reimagine ‘Iron Veins’ for a wider Indonesian audience, reshaping its sound while preserving Shumo’s original songwriting, emotional guitar work and artistic identity. Speaking on the collaboration, Shumo shares:
“The connection with Batas Senja came about because my music started reaching listeners in Indonesia, and that was already very special for me. My online audience became really strong there, and a lot of people in the community started suggesting that Batas Senja and I should connect or work together.”
“What I like most is that ‘Iron Veins’ became a bridge between two musical worlds. Through this collaboration, the song grew beyond its original form and became something that connects Australia and Indonesia through music.”
Musically, ‘Iron Veins’ blends emotional ballad writing with melodic rock and indie-folk, building towards a powerful, soaring crescendo. Centred around the metaphor of emotional armour, the track explores the tension between survival and vulnerability, reflecting on what happens when strength begins to create distance from the people who matter most.
Expected to perform ‘Iron Veins’ live alongside Batas Senja in Jakarta later this year in front of approximately 50,000 people, Shumo AG continues balancing high school life while stepping onto an increasingly international stage.
‘Iron Veins’ from Shumo AG and Batas Senja is out now.
Follow Shumo AG
Official Webpage | Spotify | Apple Music
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Cosmic Psychos confirmed to headline Thrashville after FEAR cancel tour
With just two weeks to go until Thrashville kicks off on Saturday, June 27, we’ve received sad news that American punk pioneers FEAR have been forced to cancel their first Australian tour. The band’s frontman, Lee Ving, has been advised by his doctors not to travel at this time.
We send Lee our very best wishes for a speedy recovery.
While this is unfortunate news, we’re thrilled to announce that Australia’s own punk legends, Cosmic Psychos, will be stepping in to headline the event. If anyone can fill the shoes of one legendary outfit, it’s another.
A note from the band: “We played the first Thrashville back in 2017 and it was a bloody good time. It’s unfortunate about Fear not being able to travel, but it’s nice to be the silver lining on this occasion. We can’t wait to get back there and have a few beers with ya!”
Get ready for an unforgettable day celebrating the best of punk, rock, metal, and all in between. Four stages, open fire cooking, a walk-in tattoo parlour, pro-skateboarding displays, fire performances, and plenty more…
The full line up :
Cosmic Psychos | Disentomb | The Bennies
Dregg | Hybrid Nightmares | Turtle Skull
Good Sniff | Private Wives| Couch Wizard | Catpiss
Purple Disturbance | Pyrefly | Whisperhead | Shacked!
Happy Fuckin Family | Immortal Within | I Hate People
None For One | Hope Held Hostage | Gusset Rats | Wyndfall
Thrashville is rated MA+15. While underage persons are welcome to attend, they must be in the immediate presence of a responsible adult at all times.
Tickets for Thrashville are on sale and available via the Dashville website. dashville.com.au/thrashville
“Thrashville 2025 was a perfect example of just how vibrant, varied and vigorous the Australian heavy music scene has become. But above everything, it’s an absolutely incredible experience.” – Wall of Sound
CHARLIE IVAN ANNOUNCES NEW ALBUM & SHARES DOUBLE SINGLE, ‘OF NOTHING’ / ‘I’M TIRED’ OF NOTHING, THE NEW ALBUM IS OUT FRIDAY 7 AUGUST VIA BEDROOM SUCK RECORDS
Alice Springs-based songwriter Charlie Ivan announces his new album Of Nothing, due Friday 7 August via Bedroom Suck Records, and shares the double single, title track ‘Of Nothing’, and ‘I’m Tired’. Recorded in Mparntwe (Alice Springs) on Arrernte country by Dylan Young of Way Dynamic, the singles mark the first new music since Ivan’s 2024 debut, Where The Dogs Go To Die.
Featuring backing vocals from Evie Rose, the double single offers a first glimpse into Of Nothing’s dusty, expansive world. Ivan shares, “‘Of Nothing’ uses some of the words and symbols of Macbeth, ‘strut and fret’, ‘the dagger high’. It all sounds a bit grand now, but I had watched Joel Coen’s The Tragedy of Macbeth, which is probably the Shakespeare I know best.”
By contrast, ‘I’m Tired’ is a weary comedown, capturing the stubborn persistence of old emotions. Ivan explains, “‘I’m Tired’ is a kind of weary, numb afterglow of something that should exist only in the past but is stubbornly hanging around.”
Of Nothing began taking shape years earlier while Ivan was living in Warburton Community on the Ngaanyatjarra Lands in Western Australia. Having grown up playing piano but primarily writing on guitar, Ivan found himself returning to the instrument during long stretches of solitude in the Western Desert. Ivan explains, “I bought a piano when I moved out there and started writing on it, which was something I’d not really ever done before.”
A deep connection to place remains central to the album’s identity. Rather than recording elsewhere, Ivan chose to make the record on Arrernte Country, where many of the songs were written and where their emotional landscape felt most at home. “The songs I’ve been doing for some time now always feel really grounded in the desert country. We organised a show the night before recording at the local tin shed theatre on the banks of the dry river bed that runs through town, The Totem Theatre. This way we had the pressure of getting the songs together in front of people.”
Musically, Of Nothing sits somewhere between alternative rock and desert-folk. The album carries the influence of songwriters such as Mark Lanegan, Nick Cave, Leonard Cohen and Sharon Van Etten, while remaining grounded in the desert country and the remote landscape on which it was written.
“It’s meant to feel like a car dropping into the low road, trying to escape a dust storm trailing in from the west. It’s meant to drive forward with a kind of quiet intensity. Some soft moments of longing and memory. A feeling that everything could collapse.”
At its core, Of Nothing is an album concerned with beauty found inside bleakness. Throughout the record, Ivan returns to recurring themes of longing, love, desperation and the strange futility that shadows everyday existence. It also represents a continuation of a lifelong relationship with songwriting. Ivan credits his mother, who is a songwriter herself, with introducing him to guitar and piano, and the music of Bob Dylan, Neil Young, Sinéad O’Connor, Radiohead and Nick Cave, at an early age.
All songs on the album were recorded and produced by Dylan Young (Way Dynamic), who also played additional guitar and percussion, except for the album closer ‘Grease House’, which was produced and mixed by Michael Beach, who also contributed additional guitar. Mastered by James Trevascus, the resulting 11-track album is a collection of songs shaped by desert landscapes, long roads, literary ghosts, isolation, memory and impermanence.
Charlie and his band return to Naarm/Melbourne for a one-off show at The Curtin this Sunday 14 June, with more dates to follow. Tickets on sale here.
Charlie Ivan Of Nothing – out August 7 via Bedroom Suck Records
Track Listing
Digital Track Listing
1. Car It Drives
2. Of Nothing
3. Gabriel
4. I’m Tired
5. One Million Angels
6. A Mirror In A Dark Room
7. Dust On The Plain
8. I’ll Come With You
9. Despair and Devotion
10. Fait Accompli
11. Grease House
This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.
CONNECT WITH CHARLIE IVAN INSTAGRAM | YOUTUBE | SPOTIFY | APPLE MUSIC | BANDCAMP
ERNIE GARLAND Jr ‘MOVIN BOXES’ (SINGLE)
In a world desperate for a moment to do nothing but catch a groove, Ernie Garland Jr is here slinging for the soul of Sydney, Australia. Formerly of the Sydney-based nine-piece roots-reggae band Kinsky, the man is a master at recreating his inspired life at the oceanside in your mind and heart.
Even as Garland’s What Can I Do – single – continues to receive spins on 2SER, FBi and Triple R, some of Australia’s most prominent radio stations for discovering new music, Garland is now ready to drop his debut album – Dealin’ Out The Healin’ .
“The world was upside down, and I was on the most beautiful sabbatical an artist could wish for.”
Garland’s creative process on Dealin’ Out The Healin’ is full of firsts. “I’ve always collaborated with band members on the songs,” he explains. This time – for the first time – Garland composed on the piano and accomplished the songwriting on his own because he had no other choice.
During Australia’s second pandemic lockdown from June to September 2021, Garland relocated from his spot on the hill above the world-class surf breaks and typically vibrant culture of Bondi Beach to his family home in the suburbs, replete with a granny flat containing nothing but a bed, a piano, and Garland’s small studio setup.
“I spent four months away from the woman who is now my wife and the ocean I love,” Garland recalls. “I lived like a monk, rising every morning to play piano before working on the tunes.” The timing was fortuitous, and the result represents the discipline and focus of Garland’s
self-imposed solitude.
“It’s all my stuff,” he says, sounding satisfied.
For the massive beat building on Dealin’ Out The Healin’, Garland turned to his Onehunga, New Zealand-based friend Kakhand as his primary source.
“He gave me the foundation to jam out what became the final versions of the songs,” Garland says. The other producer Garland brought on board is Darren Seltmann, co-founder of the globally recognized Australian electronic act The Avalanches. “He took the album track ‘What Can I Do’ from almost being a discard to one of the album’s standouts,” Garland exclaims.
In addition to Seltmann, Simon Kay of New Zealand-based dub reggae band Salmonella Dub, and Spain’s Joan Reggae Drummer, known for his collaborations with Eli Paperboy Reed, make appearances on Dealin’ Out The Healin’.
The solitary environment in which Garland composed his lyrics, combined with the collaborative nature of the productions, makes Dealin’ Out The Healin’ feel incredibly connected to humanity, which is a clue to Garland’s response regarding the rise of generative music.
Garland lays out his take on the state of the current creative landscape with candor: “We are our memory. We are our lived experience. Our minds are not a fucking hard drive!”
“AI couldn’t write these lyrics in a million years,” Garland elaborates, not speaking of himself, but dropping admiration for another artist who might seem unexpected, until you plug in to the joyful complexity on Dealin’ Out The Healin’.
“This was my only thought – apart from it being a masterpiece – when I listened to Father John Misty’s first album again recently,” he says.
Some additional influences that significantly contribute to a comprehensive understanding of the Ernie Garland Jr. sound include soul singer Georgia Ann Muldrow, the late jazz pianist Horace Silver, and iconic yet iconoclastic hip-hop legends OutKast.
Garland adds that he has seen Steely Dan live every time they have visited Australia. Sure, it’s only been twice, but it only took once to matter.
“Steely Dan has been in my life since I was a child,” Garland shares. “It was an emotional experience.”
Just as the perimeter of Garland’s sound wouldn’t necessarily lead one to immediately think of Father John Misty as part of Garland’s creative consciousness, neither would Garland’s wholly holistic way of looking at and living his life lead one to immediately think of President Barack Obama’s marriage as a part of Garland’s creative consciousness either.
As it turns out, the reasoning behind the lyrics of his previous single “Baby Mama Drama (Obama)” is so simple, it feels silly to have contemplated otherwise.
Garland just liked the rhyme. “I had no idea there was even speculation about their marriage when I wrote it,” he says, referring to an oft-repeated conspiracy theory that Garland is lucky to have not been privy to until after he composed the song. He is smart to use it to his advantage now that he is.
“I just used it because his name rhymed, and the fact that, despite being a politician, he carries himself really well to the point where you think he’s almost perfect and never has to deal with the life issues us mere mortals have to deal with,” Garland explains, before adding, “…and it’s funny.”
It’s groovy, too. It is not hard to imagine Barack and Michelle digging the holy hell out of “Baby Mama Drama (Obama),” and getting a laugh out of it at the same time. The story of Garland being alerted late in the game about how his fun songwriting experience touched on the cringiest fringes of American right-wing political discourse is now its own unexpected tale to tell, too.
The song features a vamp on its outro that must be heard.
“It’s a thing of beauty,” Garland enthuses about singer Arica Jackson’s contribution to the track. Garland booked Jackson and fellow singer Terrie Lynne into Brooklyn’s Bunker Studios on a short break from their professional vocal work on Broadway.
It was a massive score for Garland to get A-list talent like Jackson and Lynne on Dealin’ Out The Healin’, especially with no time to spare.
“We only had a couple of hours to work with them,” he remembers. “We had a live audio-video feed, and just got as much done as possible. Even at three AM my time, it was a very cool experience.”
One look at Garland’s deep bench of jazz, reggae, and hip-hop influences should flesh out his point of view for anyone hesitating to press play at this point: Miles Davis, Action Bronson, MF Doom, John Coltrane, Madlib, Bill Evans, Bob Marley, Burning Spear, Fela Kuti, and Chronixx close the deal.
Garland’s patience is a virtue that has enabled Dealin’ Out The Healin’ to fulfill its potential as the superior-sounding product it is. “This is the first studio project I undertook without any need to rush,” Garland says. “I got exactly what I wanted without compromising.”
Garland understands the stakes. Like, what if Barack and Michelle really do hear Dealin’ Out The Healin’?
He’s ready.
“Once it’s out, it’s out forever,” Garland concludes.
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ADAM LAMBERT RELEASES NEW SONG AND VIDEO “UNDER THE RHYTHM”
WATCH HERE
SIXTH STUDIO ALBUM “ADAM” ARRIVES JULY 10
PRE ORDER HERE
GRAMMY-nominated international superstar Adam Lambert releases the second musical preview from his forthcoming album, ADAM, with “UNDER THE RHYTHM.” Offering a message of resilience, the new track samples ATC’s “Around the World (La La La La La)” and immediately transports listeners into Lambert’s dark sonic world. Directed by Angela Ricciardi, the music video unfolds inside a surreal labyrinth, a liminal black-and-white world that mirrors the euphoric disorientation of a night out. Inspired by the 90’s experimental image-making of Nick Knight, who shot the ADAM album cover, the “UNDER THE RHYTHM” music video blends high fashion, elevated performance, and psychological tension into an immersive fever dream that follows Lambert’s journey from restriction to liberation through surrender to the rhythm. Stream the song and watch the music video HERE.
“‘UNDER THE RHYTHM’ is a song about overcoming life’s hardships through the connective and healing power of music, ” said Lambert. “It encourages the listener to keep pushing forward, one day at a time, one dance at a time, toward joy.”
This new single release follows the “alluring” (Billboard) and “powerful” (NME) desire-driven track “EAT U ALIVE” that was released last month to critical acclaim. Featuring an infectious, high-energy chorus and dripping with insatiable primal desire, “EAT U ALIVE” shines a spotlight on Lambert’s powerhouse vocal abilities and first introduced listeners to the dark industrial texture that will come to define much of the forthcoming album. Shot in Paris and directed by Vitalii Akimov, the track’s hyper-contemporary music video is an artful capture of the tension-filled song’s dark pop edge and was first premiered by Purple Fashion Magazine.
Lambert’s sixth studio album, ADAM, is set for release on Friday, July 10 via his own label/distributed via The Orchard (pre-save now). Largely inspired by the 90s alternative and electronica, ADAM expertly blends multiple genres to create something timeless. Featuring artwork by renowned fashion photographer Nick Knight and executive produced by Pete Nappi (Jon Bellion, Jon Batiste, Jonas Brothers, Rihanna, Pharrell Williams), the self-titled LP features 12 diverse new songs and marks a fully realized exploration into all facets of Lambert’s humanity and otherworldly artistry.
ABOUT ADAM LAMBERT Adam Lambert is a GRAMMY-nominated singer, songwriter, actor, and LGBTQ+ trailblazer who rose to global fame on American Idol in 2009. He has since built an international career defined by powerhouse vocals and bold artistry, earning multiple Top 10 albums including For Your Entertainment, Trespassing, and The Original High, along with hit singles like “Whatya Want From Me” and “Ghost Town.” His album Trespassing made history as the first No. 1 on the Billboard 200 by an openly gay male artist, and beyond his solo work, Lambert has captivated audiences worldwide as the frontman for Queen, performing sold-out stadium shows across the globe.
His creative reach spans film, television, and stage, with standout roles in Glee and his acclaimed Broadway debut as the Emcee in Cabaret. In 2025, he starred as Judas in Jesus Christ Superstar at the Hollywood Bowl alongside Cynthia Erivo, earning rave reviews. A passionate advocate for the LGBTQ+ community, he founded the Feel Something Foundation to support global human rights initiatives. Constantly evolving, Lambert continues to push artistic boundaries as he prepares to release his highly anticipated sixth studio album, ADAM.
KEB’ MO’ Strips It Back To Just His Voice and Guitar on New Album The Breakdown out August 21 via Concord Records
Official Performance Video For New Single. “Fussing and Fighting” Out Now
More than 50 years into a career marked by five GRAMMY wins, an Americana Music Association Lifetime Achievement Award, performances everywhere from Carnegie Hall to The White House, and songs recorded by everyone from B.B. King to BTS, Keb’ Mo’ returns with his most stripped-down and intimate album to date. On The Breakdown, out August 21 via Concord Records, he does something he has never done before: strips back his recordings to just his guitar, voice and carefully selected vocal contributions from the Soweto Gospel Choir and the gospel sextet Take 6.
The 10-song collection was recorded at his home studio outside Nashville and written in the wake of life-saving open heart surgery, the end of his nearly 20-year marriage, and a period of profound personal upheaval. Stark and deeply honest, The Breakdown is Keb’ at his most revealing, grappling with the passage of time and the inevitability of change while still holding on firmly to the hope, faith, and love that have always guided him.
“It felt like everything in my life was breaking down,” Keb’ reflects. “My health, my relationship, my whole world. The only way I knew how to respond was to break the music down, too.”
While the album is deeply rooted in Keb’s personal story, the tunes also stand as broader commentary on the state of the world at large. Today, he released the album’s first single “Fussing and Fighting,” which could just as easily reflect a long-term relationship as a divided nation searching for common ground
Watch a live performance video of “Fussing and Fighting”
Watch the visualizer for “Fussing and Fighting”
“Fussing and Fighting” sprang from the way relationships can suddenly go south. Sometimes things just don’t work out, and you’re left wondering, “What happened?,” he explains
The Breakdown marks Keb’ Mo’s first solo album release since his GRAMMY-nominated 2021 album Good To Be… and his first since his career nearly came to an abrupt end in 2024 when he began experiencing shortness of breath on tour with Slash. “I was struggling to breathe and thought there must be something wrong with my lungs,” Keb’ recalls. “When I finally got off the road, I went to the doctor, and they sent me straight to the emergency room.”
The problem, it turned out, was not with his lungs, but rather his heart. A leaking valve and aortic aneurysm required intensive surgery, and the lengthy rehabilitation period forced the postponement of a slew of tour dates.
“It felt like death was tapping me on the shoulder,” Keb’ explains. “I’d been going around feeling healthy and strong all these years, and suddenly I had to face the possibility that I might not make it. I had to go through some difficult experiences to get these songs, but I learned a lot looking back on my life and my relationships and taking inventory of everything in a new light.”
That newfound perspective is front and center on The Breakdown, which manages to turn pain and uncertainty into hope and resilience at every turn. “I’m turning 75 this year,” Keb’ reflects, “and I know I won’t be around forever. All you can do is make the most of what you’ve got and be grateful for every step of the journey.”
Follow Keb’ Mo’: Website – Facebook – Instagram – Twitter.
ELECTRIC CALLBOY – PUNK ROCK LEGENDS THE OFFSPRING UNITE ELECTRIC CALLBOY FOR NEW SINGLE & VIDEO LET THE GOOD TIMES ROLL
NEW ALBUM TANZNEID – OUT AUGUST 7 PRE-ORDER HERE
TOURING AUSTRALIA IN SEPTEMBER
Good times are indeed ahead: Electric Callboy officially releases their newest single Let The Good Times Roll, featuring legendary punk rock group The Offspring and unmistakable vocals from Dexter Holland. Blending the band’s signature mix of crushing riffs, massive pop hooks, electronic flourishes, and tongue-in-cheek energy, the track serves as the latest preview of their forthcoming album TANZNEID.
The song arrives alongside a wildly entertaining music video filmed in Los Angeles that doubles down on everything fans have come to expect from Electric Callboy: over-the-top humor, high-energy performances, and plenty of surprises. The clip features memorable cameos from comedian and television personality Howie Mandel, actor and comedian Brian Posehn, and metal icon John Goblikon, who each embrace the band’s absurd universe with enthusiasm.
Electric Callboy on their new single and the collab with Dexter Holland and The Offspring: “The Offspring have been one of the bands that shaped us from the very beginning. Their music was part of our lives long before Electric Callboy even existed, so having Dexter on this song honestly feels surreal. ‘Let The Good Times Roll’ is everything we love about loud, fun and energetic music, and getting to share that with one of our biggest inspirations makes this a really special moment for us.”
Dexter Holland adds: “When Electric Callboy sent us the track, it immediately put a grin on our faces. It’s energetic, unpredictable and doesn’t take itself too seriously – exactly the kind of spirit we’ve always loved about punk and rock music. I had a blast being part of ‘Let The Good Times Roll’ and can’t wait for everyone to hear it.”
Electric Callboy will be releasing their long-anticipated new album TANZNEID August 7, 2026. Everything leads to Escalation Fest 2026, where the band will bring the new full album to the stage for the very first time. What follows is a full-scale Electric Callboy experience: an Electric Bassboy DJ set with brand-new remixes, the Loveboat, special guests, a full-size TEKKNO TRAIN and a huge hometown-style celebration at Berlin’s Wuhlheide.
TANZNEID – OUT AUGUST 7
https://ElectricCallboy.lnk.to/TANZNEIDALBUMAUS
The new track comes just in time for the start of the European festival season, kicking off this week with the major festivals Rock am Ring/Rock im Park, where Electric Callboy is one of the main artists. While the band continues to bring the TANZNEID World Tour to audiences across Europe, Japan and Australia, the journey ultimately culminates at Escalation Fest – a landmark event featuring Paleface Swiss, Alestorm, Heavysaurus, The Hardkiss and more artists yet to be announced.
Destroy All Lines Presents
ELECTRIC CALLBOY
TANZNEID WORLD TOUR – AUSTRALIA
WITH SPECIAL GUESTS
ICE NINE KILLS
COLDRAIN
TOUR DATES:
FRIDAY 4 SEPTEMBER – RAC ARENA, PERTH
SUNDAY 6 SEPTEMBER – AEC ARENA, ADELAIDE
TUESDAY 8 SEPTEMBER – ROD LAVER ARENA, MELBOURNE
THURSDAY 10 SEPTEMBER – QUDOS BANK ARENA, SYDNEY
SATURDAY 12 SEPTEMBER – RIVERSTAGE, BRISBANE SOLD OUT
SUNDAY 13 SEPTEMBER – RIVERSTAGE, BRISBANE
Tickets on sale now from www.destroyalllines.com
STEPH HONDE ANNOUNCES NEW SINGLE ‘DROWN’ OUT JUNE 19
French rocker Steph Honde returns with an emotionally charged new single, ‘Drown’, arriving July 19 via Golden Robot Records. The track is available now to pre-save on all major streaming platforms.
‘Drown’ was written by Steph Honde alongside Shane Montgomery and delivers a heartfelt story of ambition, struggle, and self-discovery set against the backdrop of Hollywood’s relentless pursuit of fame and fortune. Blending powerful rock melodies with cinematic storytelling, the single captures the emotional highs and lows experienced by dreamers chasing success in one of the world’s most unforgiving cities.
At its core, ‘Drown’ follows a couple who relocate to Hollywood with hopes of making it big. As they navigate the pressures, vanity, ego, and hardships that come with the pursuit of fame, they eventually realise that true happiness lies beyond the glamour and excess. In the end, the pair leave Hollywood behind in search of a simpler, more meaningful life.
Pre-save ‘Drown’ HERE
Driven by Steph Honde’s signature vocal power and passionate songwriting, ‘Drown’ explores themes of perseverance, identity, and the cost of ambition. The track balances raw emotion with soaring rock energy, showcasing another compelling chapter in Honde’s growing catalogue.
Known for his dynamic performances and classic-meets-modern rock sound, Steph Honde continues to build momentum internationally through his work with Golden Robot Records. ‘Drown’ stands as both a reflective anthem and a reminder that success is not always defined by fame, but by finding peace and authenticity away from the spotlight.
‘Drown’ will be released worldwide on July 19 through Golden Robot Records and is available now to pre-save on all major streaming platforms.
ABOUT STEPH HONDE
French rock powerhouse Steph Honde has built an impressive international reputation as a singer, songwriter, guitarist, and multi-instrumentalist whose career spans hard rock, progressive rock, and heavy metal. Best known as the founder and frontman of Hollywood Monsters, Honde has worked alongside legendary musicians including Don Airey, Vinny Appice, and Paul Di’Anno, while earning acclaim for his powerful vocals, dynamic guitar work, and cinematic songwriting style.
Originally from Manosque, France, Honde first gained recognition with French hard rock outfit Café Bertrand, performing across Europe and sharing stages with iconic acts including Deep Purple and AC/DC. Over the years, he has continued to expand his musical reach through international collaborations, soundtrack work, and globally released projects that showcase both his technical musicianship and creative versatility.
Now signed to Golden Robot Records, Steph Honde enters an exciting new chapter, bringing his signature blend of classic hard rock energy and modern melodic power to audiences worldwide.
CONNECT WITH STEPH HONDE https://goldenrobotrecords.com/pages/steph-honde?mc_cid=43c2aa9a29&mc_eid=677ab1a28d
BLOOD COMMAND Turn Betrayal Into An Anthem On ‘Flowers To A Knife Fight’
With “Flowers To A Knife Fight”, Norwegian deathpop punks Blood Command turn betrayal, disappointment and emotional exhaustion into a blazing modern punk anthem built for sweaty clubs and massive festival singalongs alike.
Fueled by explosive energy, razor sharp hooks and the band’s unmistakable blend of punk urgency, pop sensibility and chaotic heaviness, the track captures the moment where heartbreak transforms into defiance. Driven by the instantly memorable refrain “I’m never gonna be that dumb”, “Flowers To A Knife Fight” channels the frustration of broken trust and fading idols into a massive shout along chorus impossible to shake.
Lyrics about stolen light, empty apologies and losing faith in the people once held closest give the song an emotional rawness beneath its infectious energy. Rather than sinking into bitterness, Blood Command turn personal disappointment into something empowering, loud and unapologetically alive. Bursting with punchy riffs, relentless momentum and the band’s signature deathpop chaos, the single balances aggression and melody with effortless confidence. The contrast between emotionally cutting lyrics and euphoric summer anthem energy gives “Flowers To A Knife Fight” its unique intensity, sounding equally cathartic and celebratory from start to finish.
Since forming in 2008, Blood Command have built a cult following through their fearless genre bending sound, acclaimed live performances and relentless touring alongside artists such as Refused, Kvelertak and Biffy Clyro. With Kerrang! acclaim and multiple Spellemann nominations under their belt, the band continue to push punk into bold new territory.
“Flowers To A Knife Fight” is another explosive reminder why Blood Command remain one of the most exciting and unpredictable forces in modern alternative music.
Listen to Flowers To A Knife Fight at https://arisingempire.com/bloodcommand
Watch Visualizer here https://youtu.be/D3DtD7-x3wM
HALF ME Unleash Devastating New Anthem ‘Weather Eye’
With “Weather Eye,” Half Me return with one of their most crushing and confrontational tracks to date. The long-awaited new single is a suffocating descent into manipulation, blind obedience, and the devastating consequences of placing faith in false idols. Blending relentless aggression with an atmosphere of looming dread, the Hamburg-based metalcore outfit once again prove why they have become one of Europe’s most exciting heavy acts.
Lyrically, “Weather Eye” is a direct attack on systems of control and the figures who exploit fear, loyalty, and suffering for their own gain. Lines such as “These saints hold smoking guns” and “No one’s watching over you” dismantle the illusion of protection and expose the hypocrisy hidden behind authority, belief, and power. Throughout the song, feelings of apathy, hopelessness, and inner collapse collide with a growing sense of resistance, ultimately culminating in a violent rejection of those who seek to control others. Musically, Half Me deliver exactly what fans have come to expect: punishing breakdowns, razor-sharp riffs, oppressive atmosphere, and explosive vocal performances that shift seamlessly between seething tension and outright fury.
Every section of “Weather Eye” feels designed to ignite chaos, combining modern metalcore precision with the raw intensity that has become the band’s trademark. Since emerging as one of Germany’s fastest-rising heavy exports, Half Me have built a reputation through relentless touring, acclaimed festival appearances, and a string of hard-hitting releases that have resonated far beyond their home country. Sharing stages with some of the biggest names in modern heavy music and steadily expanding their international audience, the band have established themselves as a formidable force within the new wave of European metalcore.
With “Weather Eye,” Half Me channel rage, disillusionment, and defiance into a mosh-fueled anthem that refuses to offer comfort or false hope. Instead, the track forces listeners to confront uncomfortable truths, question the narratives they’ve been fed, and decide for themselves whether they are done suffering for someone else’s cause.
Listen to Weather Eye at https://arisingempire.com/halfme
Watch the video here https://youtu.be/hqppDYqF_9E
HOPSYDIAN Embracing Darkness And Divinity on New Single, Elysium
Hopsydian push emotional extremity and crushing heaviness to new heights with their latest single “ELYSIUM”, a dark and cinematic descent into fractured identity, spiritual abandonment and the violent pursuit of transcendence.
Combining relentless modern metalcore aggression with sacred choir elements, towering atmosphere and beatdown loaded riffs, the track balances brutality and beauty with unsettling intensity. Driven by themes of inner ruin, corrupted faith and self deification, “ELYSIUM” explores the emotional conflict between guilt and empowerment. Lyrics like “Every scar is a vow I survived” and “There’s grace in sin” paint a portrait of someone shaped by pain, no longer searching for salvation but becoming something terrifyingly divine in the process.
The song constantly shifts between whispered confession and explosive defiance, mirroring the psychological collapse unfolding beneath its massive production. Haunting choirs echo like fractured prayers throughout the track, colliding with crushing breakdowns and punishing drums that amplify the tension between sin and transcendence. As the song builds toward its radiant and emotionally overwhelming chorus, Hopsydian create a sound that feels both apocalyptic and euphoric, equal parts spiritual reckoning and violent rebirth. With “ELYSIUM”, Hopsydian showcase a bold modern approach to metalcore that merges cinematic atmosphere, raw emotional weight and unrelenting heaviness into something immersive and devastating.
Dark, aggressive and impossible to ignore, the single positions the band as one of the genre’s most exciting emerging forces.
Listen to Elysium here https://arisingempire.com/hopsydian
FOLLOWING THE RELEASE OF NEW SINGLE “RACING TIME”, ASHLEY NAYLOR – LEAD GUITARIST FOR PAUL KELLY & THE CHURCH – IS SET FOR ASHLEY NAYLOR SPACESHIP SHOWS IN MELBOURNE AND SYDNEY IN JULY, AND A RARE U.S. SOLO SHOW IN LOS ANGELES NEXT WEEK!
Ashley Naylor – Lead Guitarist for The Church and Paul Kelly and longtime leader of Melbourne pop’n’rollers Even – has announced July Melbourne and Sydney shows for his band ASHLEY NAYLOR SPACEHIP, as well as a rare US solo show set for June 11 in Los Angeles (in between shows with The Church.)
The shows follow the release of new single “Racing Time”, exclusive translucent green vinyl copies of which will be given away to attendees of the Ashley Naylor Spaceship’s Sydney show at the Factory Floor on July 25. (Melbourne fans had the opportunity to score a copy at Spaceship’s Memo show in March.)
A 3:50 radio edit of the nearly 6-minute epic from Ash’s recent Alexandia Sunset album, ‘”Racing Time” is a classic Naylor pop-rocker and will appeal to fans of his old band Even and his new running mates The Church.
ASHLEY NAYLOR LIVE & SOLO
LP VINYL BAR, HOLLWOOD
Thursday June 11 – free show
ASHLEY NAYLOR SPACESHIP
LIVE at NORTHCOTE SOCIAL CLUB, MELBOURNE
w/ guests Buried Feather
Thursday July 23 – tix
LIVE at FACTORY FLOOR, SYDNEY
w/ special guests
Saturday July 25 – tix
***
“Racing Time” is the latest single from Ashley Naylor’s critically acclaimed Alexandria Sunset album, and to celebrate, El Reno Music is releasing a strictly limited edition 7″ coloured vinyl single.
Harking back to the great days of Australian alternative music, a 3:50 Radio Edit of the nearly 6-minute epic “Racing Time” is a classic Naylor pop-rocker and will appeal to all fans of his old power pop band Even and his new running mates The Church.
The single will only be available in two colours – translucent red and translucent green.
Translucent green copies will initially only be available as a gig giveaway as explained above.
Translucent red copies will be available via Bandcamp and at upcoming gigs.
A limited number of translucent red copies is also included in the Alexandria Sunset ‘Racing Time Bundle’, featuring a red translucent copy of Alexandria Sunset, as well as a red translucent copy of the “Racing Time” 7″ single.
The single is available through the usual digital channels now, and pre-orders are also open for the limited-edition vinyl copies, via Bandcamp. These includes unlimited streaming of “Racing Time” via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 24-bit/96kHz.
https://ashleynaylor.bandcamp.com/album/racing-time
Melbourne musician Ashley Naylor plays guitar in The Church, The Stems, Paul Kelly, the RocKwiz Orkestra and for a host of other artists. He is the beloved guitarist, songwriter and singer of ’90s Triple J faves Even, leader of instrumental outfit Ashley Naylor Spaceship and co-conspirator in a number of other acts including The Grapes and The Ronson Hangup. Released last month, while Ash was in the midst of a huge arena tour with Paul Kelly, he breaks substantial ground in a new phase in his career with the release of his new solo vocal album Alexandria Sunset.
The new solo vocal material follows Naylor’s acclaimed instrumental solo guitar album Soundtracks Vol. 2 and the birth of his new solo band Spaceship and is Naylor’s first vocal solo recording in over a decade. Primarily song focused rather than a vehicle for Naylor’s guitar playing, Alexandria Sunset is the first solo album on which Naylor himself plays and sings every note himself since 2004’s Four Track Mind and it’s a much more evolved record than that was. It digs deep into the classic stylings of the late ’60s and ’70s that Naylor has always loved. As the artist himself says, “I’m an indie artist hung up on classic rock”.
“I’ve been working on three separate albums in recent years,” continues Naylor. “This one finished itself first once I committed to the idea that it would consist of songs I recorded all the parts for on my own. Much of what I do is in a collaborative environment; this album is a deliberate move into a very singular musical world I’ve created. These songs were recorded in spare quiet moments which informed the intimacy of much of the material
“This album is an unfettered foray into my own rock fantasy, where guitar solos are long, songs take detours, and the audience would just sit and listen to the music. I believe the true essence of this album will reveal itself over time”
ASHLEY NAYLOR’s ALEXANDRIA SUNSET IS OUT NOW ON EL RENO MUSIC.
ORDER CD OR DIGITAL RELEASE, OR A RANGE OF DIFFERENT VINYL EDITIONS INCLUDING THE ALEXANDRIA SUNSET ‘RACY RED’ + ‘RACING TIME’ RED VINYL BUNDLE HERE
Ashley Naylor – Official | Facebook
Ashley Naylor – Official | Instagram
Ashley Naylor Official – YouTube
No PROMISES ‘WILDSIDE’ (SINGLE)
Australian alt country duo No PROMISES return with their uplifting new single Wildside — a feel-good, cruisy country track about breaking free from routine, taking chances, and chasing the life you really want.
Driven by warm acoustic guitars, rolling rhythms, and an undeniable sense of freedom, Wildside captures the spirit of escaping the daily grind and embracing the open road. Featuring Eric Collier on lead vocals alongside Janine Garvey’s beautiful harmonies, the track highlights the unmistakable chemistry between the pair, with their voices blending effortlessly throughout the song.
At its heart, Wildside is about choosing adventure over comfort and connection over convention. Lyrics like “Quit the job working 9–5 / And we can get away on that open road” paint a vivid picture of two people leaving their worries behind in search of something more meaningful.
The song balances classic country storytelling with modern country energy, creating a laid-back anthem perfect for long drives, warm nights, and anyone dreaming of a fresh start.
“Wildside is about stepping outside the safe and familiar,” says the band. “It’s about taking risks, living freely, and finding joy in the unknown. We really wanted the song to feel uplifting and hopeful — like rolling the windows down and heading toward something better.”
With Eric’s heartfelt vocal delivery and Janine’s beautiful harmonies adding warmth and emotion, Wildside continues to showcase the evolving sound of No PROMISES — blending country, Americana, and melodic rock influences into something authentic and memorable.
Wildside is available on all streaming platforms.
From No PROMISES upcoming highly anticipated Matt Fell produced album – Siren.
HERMANOS GUTIÉRREZ ANNOUNCE NEW ALBUM LOS OJOS DEL CÓNDOR OUT SEPTEMBER 25 ON EASY EYE SOUND & SHARE LEAD SINGLE/VIDEO ‘CANTO ANDINO’
Hermanos Gutiérrez, the LA-based Swiss-Ecuadorian sibling duo of Estevan and Alejandro Gutiérrez, have announced their new album, Los Ojos Del Cóndor, set for release on September 25 via Easy Eye Sound. Produced by Dan Auerbach of The Black Keys at his Easy Eye Sound studio in Nashville, the 10-track album draws the duo’s cinematic guitar work more directly toward their South American roots, trading the wide-open spaces of the American West for the rhythms and textures of the Andes – a vivid new palette of sounds and influences from the continent that shaped them.
Alongside the announcement, the duo released the album’s first single and accompanying video, ‘Canto Andino’. The stately opening track eases listeners into the album’s world with an acoustic guitar figure before giving way to a drifting organ line, setting the tone for the journey ahead. “That melody you hear in the chorus, that’s very happy, and then it turns back into the dark, low tones of the slide,” said Alejandro. “It’s cool because that’s actually how the weather works in the Andes. You’ve got sunshine and then all of a sudden it’s so cloudy and looks like it might rain or even snow. ‘Canto Andino’ is a calling from that landscape that inspired us.”
“This is a love letter to South America,” said Alejandro. “What we want to do with this record is to invite people to come on another journey with us, this time through the Andes and to create a curiosity for this culture and for this part of the world.”
Over a decade and six albums, Estevan and Alejandro have built a distinctive language through their intertwined guitars, blending Latin sounds, surf, western flourishes and melancholia. Los Ojos Del Cóndor turns that sound homeward, drawing on their mother’s native Ecuador and their great-grandmother’s Peruvian heritage alongside Argentinean milonga and Peruvian-Colombian cumbia. That sense of place runs from the opening call of ‘Canto Andino’ to the galloping rhythms and lap steel of the title track. The brothers named the album after that song, feeling it best captured the record’s sensation of flying high over the landscape, like the condor of the Ecuadorian flag. “The condor is the bird of the Andes,” said Alejandro. “It’s like seeing something from that perspective and appreciating the beauty.”
“As brothers, we are very similar, but then also we have different tastes,” said Estevan. “For example, I love salsa, my brother loves cumbia. For somebody that doesn’t know Latin music, they think, ‘It’s almost the same.’ But it’s not. So whenever we compose new stuff, you can always hear that difference.”
Estevan plays the entire album on the nylon guitar his father gave him when he was eight, while Alejandro introduces the charango guitar, heard on ‘Canto Andino’, ‘Ciudad Inca’, ‘La Danza Del Viento’ and ‘Tren Macho’. Movement runs throughout: working again with Nashville studio musicians, the brothers chased both the feeling of flight and a train ride through the Andes. The latter takes shape on ‘Tren Macho’, named for the line that once carried passengers from Huancayo to Huancavelica. ‘Yanantin’ takes its title from the concept of complementary duality – a theme that runs through the brothers’ music, their relationship and the album’s visual world.
The album artwork, a photo depicting two women and two llamas climbing a gentle hillside against a bright blue sky, was caught by Estevan almost by chance. He and Alejandro travelled to Peru in March with analog and Super 8 cameras in tow. “We were talking to these two women, and they were so cute with the llamas,” said Estevan. “As we said goodbye, they walked up that hill, and we took that picture, and everybody got goosebumps.” The organic capture on actual film, along with the back cover photo of Andean condors taken by Alejandro, suited the handmade, home-movie feel of an album meant to convey the story of a family and a place.
Where the brothers have always been the subjects of their recent album covers, this one marks a shift. “We wondered if it made sense to show us again,” said Alejandro. “And then we saw this picture, two women, the two llamas, and we loved the duality of it and the representation – it could be the two of us in another life. We realised it’s not always about us. It’s more about the culture that we admire and that we honour.” That duality carries to the back cover and its two flying condors, returning to the concept of ‘Yanantin’. Estevan took the front cover, Alejandro the back: “It’s always yin and yang. It needs both.”
Los Ojos Del Cóndor reunites the brothers with Dan Auerbach, who also produced 2022’s breakout El Bueno Y El Malo and 2024’s Sonido Cósmico, both met with critical acclaim. El Bueno Y El Malo landed the brothers a Tiny Desk concert, a prestigious nomination for Album of the Year at the 2023 Americana Music Honours & Awards, and a spot on NPR’s Top Latin Albums of the year. Sonido Cósmico brought them to Jimmy Kimmel Live! for their national television debut, with the New York Times’ T Magazine calling it “instrumental guitarscapes that sound like a psychedelic spaghetti western” and Variety pointing to its “intricacy and sly brilliance.”
Beyond their own albums, Estevan and Alejandro have recently collaborated with Leon Bridges and Natalia Lafourcade, and co-composed the score for SURFILMUSIC, the documentary on Jack Johnson’s path from surfer to filmmaker to GRAMMY-nominated musician. The rest of the year will see them touring extensively, playing shows across North America with Jack Johnson, as well as headline European dates.
WATCH THE VIDEO FOR ‘CANTO ANDINO’
Los Ojos Del Cóndor – out September 25 via Easy Eye Sound.
Tracklisting:
1 – Canto Andino
2 – Los Ojos Del Cndor
3 – Alma Mia
4 – Ciudad Inca
5 – Yanantin
6 – La Danza Del Viento
7 – Tren Macho
8 – Waway
9 – Los Andes
10 – Dios De La Paz
CONNECT WITH HERMANOS GUTIERREZ WEB | INSTAGRAM | FACEBOOK | YOUTUBE | SPOTIFY | APPLE MUSIC
BRITTANY ELISE TURNS UP THE HEAT WITH NEW SINGLE & VIDEO ‘YOU LOOK LIKE’
Amid a breakout run that’s seen her split time between Australia and the beating heart of country music in Nashville, Brittany Elise is turning up the heat with her infectious new single ‘You Look Like’ – a bold, flirtatious country-pop anthem dripping in confidence and chemistry.
Following on from her previous single ‘Simple Things’, which hit #46 on the CountryTown Hot 50 Airplay Chart and #32 on the Country Songs Top 40 Australian Airplay Chart, ‘You Look Like’ further cements Brittany’s place as one of Australia’s fastest-rising modern country exports – now making serious waves from her new home base in Nashville, Tennessee.
Produced by Mark Lonsway at Warner Chappell Studios in Nashville, the track captures the spark of instant attraction with swagger, charm, and a hook built for crowded dance floors. Inspired by a real-life moment Brittany witnessed in a Nashville bar the night before a songwriting session, the song quickly evolved into a playful anthem about throwing caution to the wind and chasing a feeling.
“I had been in a Nashville bar listening to live music the night before our write and I heard this lady ask a man she had just met to buy her a drink,” Brittany shares. The following day she took the story to co-writers Michael Saleta and Jake Arthur.
“I wanted to capture that flirty, confident energy where you’re not overthinking it, you’re just going for it and Michael had the title ‘You Look Like I Need A Drink’. This song came from that fun, little cheeky, in-the-moment feeling – you see someone across the room and just know there’s a spark.”
With its punchy country-pop production, singalong chorus, and undeniable sass, ‘You Look Like’ leans fully into Brittany’s evolving sound – one that balances polished Nashville influence with the down-to-earth warmth and charisma that’s made her such a compelling performer.
“Recording this song was so much fun with a world class band at Warner Chappell Studios,” she recalls. “They had previously just performed on a Shaboozey song that morning. We discussed the fun, sassy nature of the song and they brought my vision to life in 2-3 takes on multiple instruments.”
Accompanying the release is a vibrant music video filmed in Nashville and produced by Justin Mayotte of BCAM, bringing the song’s cheeky storyline and electric chemistry to life against the backdrop of Music City nightlife. Packed with playful moments, flirtatious tension, and Brittany’s magnetic on-screen presence, the clip mirrors the song’s carefree spirit while showcasing the confidence and personality that continue to set her apart as an artist.
Now firmly embedded in Nashville’s creative scene, Brittany’s move to the US is proving to be far more than a temporary chapter. In a remarkably short time, she has performed at iconic venues including the Bluebird Cafe and The Listening Room, secured signing appearances at CMA Fest’s Fan Fair X, and collaborated with respected Nashville hitmakers including Kirsti Manna (Blake Shelton), Larry McCoy (Thomas Rhett, Luke Combs), and Lance Carpenter (Toby Keith, Kelsea Ballerini).
Beyond music, Brittany has also carved out an impressive presence within Nashville’s events industry, working behind the scenes on major productions including Nashville’s Christmas Parade 2025, Holiday Market at the Mansion 2025, First Responders Luncheon 2025, Excellence in Education Luncheon 2025–2026, and the Influencing Women’s Awards Gala honouring Hillary Scott, Lady A, and Linda Davis.
A former professional athlete who represented Queensland and Australia before a devastating knee injury threatened her future, Brittany’s story has always been defined by resilience, determination, and fearless reinvention. Those same qualities now fuel an international music career that continues to gather momentum with every release.
With more than 700k streams across platforms, major festival appearances including Tamworth Country Music Festival, Gympie Music Muster, Groundwater Country Music Festival and Deni Ute Muster, plus stage shares alongside artists including Lee Kernaghan, James Johnston, Amber Lawrence, Craig Wayne Boyd (US) and Morgan Myles (US), Brittany Elise is proving herself as a genuine Aussie success story abroad.
‘You Look Like’ might just be her boldest statement yet. Like lightning in a bottle, it perfectly mirrors the momentum of the star on the rise.
US SHOW DATES:
Saturday 13th June – Hilton Garden Inn – Nashville, TN
Friday 19th June – Puckett’s – Hendersonville, TN
Tuesday 23rd June – Puckett’s – Nashville, TN
Sunday 5th July – Premeer – Rhode Island, MA
Friday 10th July – 4th July Fireworks Festival – Boston, MA
Saturday 18th July – Puckett’s – Murfreesboro, TN
CONNECT WITH BRITTANY ELISE www.brittanyelisemusic.com
TWO TONE PONY RETURN WITH NEW SINGLE & VIDEO ‘DON’T YOU EVER WONDER WHY’
Fresh off the back of their previous single ‘You Haven’t Heard Of Me Yet’, which hit #5 on the Australian Country Radio Chart, #12 on the Country Songs Top 40 Australian Airplay Chart and landed on Apple Music’s ‘New In Country’ editorial playlist, NSW Central Coast outfit Two Tone Pony return with ‘Don’t You Ever Wonder Why’, a reflective country-rocker steeped in longing, fate and the ache of roads not taken.
Blending old school West Coast rock undertones with classic country textures, the new single finds the band leaning into the cinematic storytelling that has quickly become their trademark. Led by the songwriting of David Kirkpatrick – son of Australian country royalty Slim Dusty and Joy McKean – ‘Don’t You Ever Wonder Why’ unfolds like an old highway memory, equal parts heartache and hope.
“I can’t really say where this song came from. I was strumming a few chords one night walking around downstairs in my house when I started singing the lines – keep the fire burning Molly, keep your lantern lit tonight,” David shares. “And I got a really strong vision in my head of a Celtic woman in an Irish valley on a farm (and no – I never had a girlfriend called Molly). The story just tumbled out after that. I had a real sense of a man yearning to be back with her, but he didn’t know how.”
Produced once again by multi award winning maestro Rod McCormack (The Wolfe Brothers, Gina Jeffreys) the track balances earthy instrumentation with sweeping emotional weight. Brandon Smith’s fiddle work dances through the arrangement alongside McCormack’s driving five-string banjo, while Kirkpatrick’s unmistakable Telecaster tone keeps one boot firmly planted in country rock tradition.
“The band did a fabulous arrangement of the song, and it features our newest member Brandon on fiddle which just lifts it to a new level,” David says. “I was struggling to get the right sound for the electric rhythm until Rod suggested the Gretsch 6120 which gave the perfect combination grit with clarity – but I stuck to my trusty Telecaster for the solo.”
Accompanying the release is a visually rich video shot at Macmasters Beach on the NSW Central Coast, produced entirely in-house by the band. Built around themes of confusion, longing and fate, the clip follows David through a series of locations, echoing the song’s central image of a man searching for lost love.
Though the shoot itself delivered a few unforgettable moments.
“A couple of things stand out from the video shoot,” David laughs. “Firstly, we need to take more care of Brandon. We’d decided to film him playing his fiddle solo on the edge of a small dam. We directed him closer and closer and very nearly lost him down the slippery bank!”
“Then as he was playing the last notes of the song, our resident kookaburra, annoyed at the drone we’d been using, decided to show she was still the boss and swooped in from behind Brandon, just missing his head. You can see her in the video.”
The release also marks a renewed chapter for the band, who returned to the studio and stage with fresh momentum after David underwent major shoulder reconstruction surgery earlier this year – the longest stretch he can remember without playing guitar. Now recovering and preparing to return to live performance, Two Tone Pony are set to appear at the Clarence Valley Country Muster on Saturday October 31 – their first festival performance since David’s surgery.
Since forming in 2018, Two Tone Pony have carved out a reputation for heartfelt original songs that draw equally from classic country, folk and rock influences. Their debut album ‘Born On The Road’ reached #11 on the ARIA Country Albums Chart, while their growing catalogue has now surpassed 420k streams across DSPs.
With ‘Don’t You Ever Wonder Why’, the band continue to sharpen their distinctly Australian identity – creating songs filled with humanity, unique soundscapes and the kinds of questions that linger.
HOLLY THROSBY RELEASES NEW SINGLE ‘HOLD PLEASE’ FT. LAURA JEAN + ANNOUNCES NEW ALBUM NORMAL MAGIC OUT 4 SEPTEMBER
Following the recent release of ‘Gallery’, today Holly Throsby releases her new single ‘Hold Please’ – featuring Laura Jean – and announces her upcoming sixth studio album, Normal Magic, coming 4 September.
Normal Magic marks a new direction for Throsby: a self-produced ten-song record, synth-heavy, with programmed beats, dirty electric guitars, saxophone, and banjo. This is a far more electronic and mesmeric sound, but the songs remain finely crafted: lyrically ambitious; playful and hypnotic.
Throsby sought out a whole new group of collaborators for this album, including multi-instrumentalist Jordan Ireland (The Middle East), Helen Franzmann (Mess Esque, McKisko), Laura Jean, Oliver Mestitz (The Finks) and Jake Core (Soda Eaves). Recordings were made in various homes, with the bulk engineered at Stranded Studios in Bellambi (Babitha, Body Type). The record was mixed in Provence, France, by Burke Reid (Courtney Barnett, The Drones, Julia Jacklin).
Of Normal Magic, Holly says: “This record stemmed from a conversation about what is normal and what is magic. Art making, for example, is quite magical and quite normal at the same time, and the concept expanded as the songs were written to be a kind of a celebration of the magic of normal life – little moments of beauty and wonder which can be so sustaining. A sunbeam or a bird or a moment of synchrony.”
Second single, ‘Hold Please’, gives another glimpse into this new chapter: an addictive, mood piece, co-written with Mess Esque’s Helen Franzmann; with Laura Jean as duet partner.
Of ‘Hold Please’ Holly says: “This is part love song and part love-lost song. I loved creating the sonic world for this – very dreamy. When I sent Laura Jean the final mix she said it sounds like we’re in a ‘huge sapphic chamber’– to which I really laughed; and am thrilled to have accomplished.”
Nine years have passed since the release of Throsby’s last album After A Time. Since then, she has released two novels (Cedar Valley and Clarke) and spent many seasons on the South Coast, developing a new sonic palette for her upcoming album. Normal Magic is the result, coming on vinyl and digital in September.
Holly Throsby is one of Australia’s most beloved and enduring singer-songwriters. Her debut album arrived in the 2004, establishing her as a singular folk voice with a remarkable gift for lyrical detail. Four acclaimed solo albums followed, an album of original children’s songs, and her work as one third of the band, Seeker Lover Keeper. Together, Holly Throsby and Seeker Lover Keeper have amassed over 70 million combined streams. Holly has been nominated for five ARIAs – including two for Best Female Artist. She is also an acclaimed novelist, with three books published by Allen & Unwin selling over 40,000 copies, and a fourth expected in 2026.
‘Hold Please’ ft. Laura Jean is out now via Hobbledehoy Records.
Normal Magic tracklist:
1 Wouldn’t it be Good?
2 Gallery
3 Tell Me I’m Done
4 Normal Magic
5 Thinking
6 Hold Please (feat. Laura Jean)
7 Missing You
8 Flowers
9 Photoshoot (feat. McKisko)
10 All of our Sorrows
Modest Mouse Release new album An Eraser And A Maze, Out Now
Album out now via Glacial Pace Recordings / Virgin Music Group
Modest Mouse have released their first new record in five years and their eighth studio album, An Eraser and A Maze, via Glacial Pace Recordings / Virgin Music Group. The long-awaited 15-track album was produced by Isaac Brock with co-production by Jacknife Lee (REM, U2), Suzy Shinn (Weezer), and Justin Raisen (Charli xcx, Kim Gordon, Lil Yachty).
The band has also shared the video for ‘Life’s A Dream’. Directed by Isaac Brock, with co-direction from Zach Storer and Chris Raab, the video, shot in Portland, is a fever dream with a cast of characters that reflect the blurring of dreams with reality.
Modest Mouse – An Eraser And A Maze
Album out now via Glacial Pace Recordings / Virgin Music Group
1. Picking Dragons’ Pockets
2. Remember Yourself
3. Life’s A Dream
4. Third Side Of The Moon
5. Dogbed in Heaven/Give It A Skeleton
6. Interlude
7. I Can’t Talk Right Now
8. Speak ‘N Spell (Or Not)
9. Rotten Fruit (feat. pkpkpk)
10. Knocked Down By Waves
11. Absolutely Necessary Never
12. Song About Nothing
13. Stoner Party
14. Look How Far…
15. Impossible Somedays
Connect with Modest Mouse https://www.modestmouse.com/
ANDY JANS-BROWN and CAMERON SPIKE-PORTER ‘NOT IN THE MOOD FOR YOU’ (SINGLE)
‘Not in the Mood for You’ is the fourth single from Andy Jans-Brown’s forthcoming album Airport Departure Lounge.
Some calls you let ring out. Some go to voicemail. Not every call deserves an answer. ‘Not in the Mood for You’ is a buoyant, bittersweet indie pop-rock song about the moment the heart finally stops flinching. It’s a break-up song, but not a wounded one. This is the morning-after clarity; the point where the bruise has faded into something you can carry, maybe even something you’re quietly grateful for.
Built around a chiming hook and an irresistibly forward-moving groove, the track opens with an image as modern as it is melancholic: “A picture of you on my phone is calling.” From there it drifts through a year of small hauntings; sleepwalking, pitta-patta rain on a tin roof, earworms in echoes, and the strange sky-blue calm that arrives when grief has finally been outwalked.
“And though that mess was full of beauty and colour, I could not take it any longer, or I was a goner.”
Where earlier singles from Airport Departure Lounge lingered in the fluorescent hum of emotional limbo, ‘Not in the Mood for You’ is the moment the passenger finally stands when their gate is called. It’s the quiet decision to move forward and stop answering the calls of the past. To stop explaining. To choose silence not as absence, but as solid ground.
Because sometimes the message still arrives; just not where the sender imagined. The song also carries the broader spirit of the album in its pocket. Airport Departure Lounge began life as a break-up record of a different kind: a love letter to a country, to a dream, and a reckoning with what’s become of both.
While ‘Not in the Mood for You’ feels deeply personal, that double meaning quietly hums beneath the surface; the ache of losing someone or something you once couldn’t imagine living without, alongside the dawning relief of finally choosing yourself. “I’ve got a new tattoo, inspired by you, but your name’s not upon it.”
It’s the line that captures the song’s emotional centre: gratitude for what shaped you, paired with a refusal to carry what no longer fits. Jans-Brown sings, “Love can never be contained or chained up.
And light will always leave its shadow upon me.”
Musically, the track is gentler than its predecessors. Still propulsive and unmistakably radio-friendly, it channels the wry indie-pop sensibility of The Shins and the wistful drift of Wilco, making space for something softer, understated, bittersweet, and slightly detached. Cameron Spike-Porter’s cinematic guitar layering threads brightness and charm through every hook, while Grant Gerathy’s drums propel the song forward like a traveller striding toward the departure gate.
And fittingly, it ends not with heartbreak or revenge, but with a beautifully ordinary act of moving on:
“Your call has gone through to my newfound silence.”
The album was mixed by Cameron Spike-Porter and mastered by Jordan Power.
The first three singles have been referred to as; “Classic indie rock that enchants and fills stadiums with sing-alongs” – Portamento
“A magnificent masterpiece that you should start listening to right now” -Rockola Indie
Building on the acclaim of ‘Falling’, which Keyline Magazine called “an indie rock masterpiece”, Airport Departure Lounge deepens Jans-Brown and Spike-Porter’s reputation for emotionally resonant, socially engaged music.
Jamsphere Magazine described the duo as “among the most creative forces in indie rock today,” while journalist Fernando Dávila wrote: “Andy Jans-Brown is magic… his voice is bones, blood, soul, flesh and power; a real human giving all in a song.”
‘Not in the mood for you’ will be available on all major streaming platforms. More information: www.andyjansbrown.com
ABOUT ANDY JANS-BROWN
Andy Jans-Brown is a prolific Australian artist working across music, film, theatre, and visual art. Across a decades-long career, he has built a body of work defined by emotional honesty, poetic insight, and a deep engagement with the social and psychological currents shaping contemporary life.
His four previous double albums; Letting Go! (2012), Sunshine Avenue (2014), Hell is Light (2018), and Falling (2024) have earned critical praise and a dedicated international following.
He has shared stages with artists including Nick Cave and the Bad Seeds, Phil Jamieson, Portugal. The Man, and The Preatures.
In 2018, Jans-Brown released Hell is Light, a darkly comic arthouse project that fused album and feature film to explore addiction and recovery in coastal Australia. The film won Best Film, Best Director, and Best Original Soundtrack at the 2019 Pinnacle Film Awards and screened at the Blow-Up International Arthouse Film Festival in Chicago.
An accomplished actor and theatre-maker, Andy’s work spans stage and screen, alongside a strong commitment to community-based arts practice. Since 2023, he has served as Project Manager for One Vision Productions, mentoring Indigenous students to create original hip- hop tracks and film clips that strengthen cultural pride, resilience, and self-expression through the Six Pillars of Mind Mastery. As a songwriter, filmmaker, playwright, and poet,
Andy Jans-Brown continues to create work that shines a light on the unseen, the unheard, and the beautifully broken, in a reflection that shimmers and resonates, offering some solace in connection, and meaning in uncertain times.
TAKARA Pulls Back the Curtain on New Single ‘Not Your God’
OUT NOW | LISTEN HERE
TAKARA returns with her most fearless and emotionally charged release to date, unveiling her new single Not Your God, the third offering from her forthcoming third album. A bold step deeper into the sonic and emotional world she has been building, the track sees TAKARA continue to blur the lines between alternative R&B, world music, and cinematic pop, creating something both deeply intimate and strikingly expansive. With layered harmonies, atmospheric production, and raw lyrical honesty, Not Your God explores the dangerous space between admiration and projection, unpacking the emotional weight of being perceived while reclaiming her humanity in the process.
Built around haunting textures, hypnotic percussion, and emotionally exposed songwriting, Not Your God captures the tension between vulnerability and confrontation, balancing softness with intensity as TAKARA reflects on identity, expectation, and emotional imperfection. The single further establishes the sonic direction of her upcoming album, a body of work designed to feel immersive, cinematic, and emotionally transportive both on record and in a live setting.
“Not Your God” is an alternative R&B/world music record about the danger of putting people on pedestals. It’s me pulling back the curtain a little and reminding people that admiration can turn into projection really quickly. I’m flawed, emotional, messy, healing, learning… just like everybody else. It blends atmospheric alt-R&B with global textures and layered harmonies that feel both intimate and confrontational at the same time.
Known for blending alternative R&B, world music, and cinematic pop into a sound that feels both intimate and otherworldly, TAKARA has built a global audience entirely independently. Through emotionally raw storytelling, self-produced records, and layered harmonies, she has amassed over 400 million views across social platforms and cultivated a dedicated international fanbase of more than 500,000 followers. Drawing inspiration from the cultures she grew up around, her music moves fluidly through vulnerability, femininity, desire, and self-discovery with a style that feels equally nostalgic and futuristic.
Her recent momentum has continued to build following the release of Mona Lisa, which received over 50 spins across 25+ stations, including 14 triple j spins, alongside editorial support from Happy Mag, and Spill Magazine. Follow-up single Soleil further cemented her growing impact, landing on Spotify’s Fresh Finds AU/NZ while earning support from Happy Mag TV, and an interview with CADA’s K-Sera. TAKARA has also continued expanding her presence across music and culture spaces with recent appearances at the Snapchat Sunset Sessions and the announcement that she will perform at SXSW London this June.
As anticipation builds around her forthcoming album, TAKARA is simultaneously developing an immersive new live show designed to bring the emotional world of the project to life on stage. With plans to perform across Australia, the US, and the UK ahead of touring through late 2026 and into 2027, the project signals her most ambitious artistic chapter yet. Her growing global presence has already led to select touring dates supporting KAMAUU throughout the US, alongside co-signs from Bebe Rexha and Jeremih, further cementing TAKARA as one of the most exciting emerging artists pushing alternative pop and R&B into bold new territory
INTERPOL Announces first album in four years ‘This Mirror Weighs a Ton’
And shares new singles ‘See Out Loud’ + ‘This Mirror Weighs a Ton’ Singles out now via Partisan Records
Interpol announce their new album This Mirror Weighs a Ton, their first in four years and debut for Partisan Records, arriving August 28. Alongside the announcement, the band share the two opening tracks, the title track, ‘This Mirror Weighs a Ton’, and ‘See Out Loud’.
Produced by Andrew Wyatt (ROSALÍA, Charli xcx) and mixed by David Fridmann (Sleater-Kinney, MGMT), This Mirror Weighs a Ton expands Interpol’s sonic palette with the addition of strings, woodwinds, layered vocal harmonies, acoustic guitar and experimental sound design while maintaining the band’s signature rhythmic and melodic approach. The album was recorded at Wyatt’s studio on Manhattan’s Lower East Side, marking the band’s first time making a record in their original home base in over a decade.
‘This Mirror Weighs a Ton’ + ‘See Out Loud’ offer a study in duality, with Interpol stretching the edges of their identity without losing the pulse that made them essential. The title track unfolds like a slow revelation, all warped bass, tidal motion, ghostly vocal textures and immersive sound design, bending the band’s familiar language into something subtly alien and expansive. ‘See Out Loud’ strikes with taut rhythms, serrated guitars and the nocturnal charge etched into Interpol’s DNA, sharpened by layered harmonies, shifting perspectives and a rare vocal turn from Daniel Kessler (his first since Turn On The Bright Lights’ ‘PDA’).
Interpol – ‘See Out Loud’ + ‘The Mirror Weighs a Ton’
Singles out now, The Mirror Weighs a Ton out August 28 via Partisan Records
Connect with Interpol https://www.interpolnyc.com/
Becca Hatch Turns Heartbreak Into Pure Power on New Single Daylight Robbery
Becca Hatch continues her unstoppable rise with the release of her striking new single Daylight Robbery, a cinematic and emotionally charged track capturing the chaos, intensity and vulnerability of a connection that refuses to fade. Following the breakout momentum of Garden (Bang Goes The Drum), the proud Kamilaroi/Samoan artist delivers another bold statement that further cements her as one of Australia’s most compelling new voices.
Written by Becca Hatch alongside Patrick Byrne (Beso Palma), mixed by Cam Parkin and mastered by Klaus Hill, Daylight Robbery blends Becca’s signature fusion of R&B, electronic textures and bold pop production with raw emotional storytelling. Dramatic, magnetic and deeply human, the track pulls listeners into the aftermath of a love that lingers long after it should.
At its core, Daylight Robbery explores the contradiction of being unable to let go of someone who still holds power over you. It is a song about impact, memory and the dangerous pull of chemistry, even when logic tells you otherwise. With haunting lyricism and undeniable emotional intensity, Becca transforms heartbreak into something euphoric, reckless and impossible to ignore.
“Daylight Robbery is about a love that leaves an imprint on you; someone you can’t forget, even if they might not be the best for you. It’s about being overtaken by feeling and impact. Like being hit suddenly in the face or the gut. Sometimes we meet people that leave a mark on us, and even after they’re gone, parts of them still linger. The song lives in that tension of knowing someone has the power to hurt you, but still feeling drawn to them anyway. There’s something addictive about connections like that and I wanted Daylight Robbery to feel emotional, dramatic and a little reckless.”
Already recognised as one of Australia’s most compelling contemporary R&B artists, Becca Hatch has built a reputation for genre-bending soundscapes, deeply personal songwriting, and commanding live performances. A 2024 NIMA Award winner, multiple ARIA nominee and recipient of the 2025 APRA Professional Development Award, Becca has evolved into one of the nation’s most important rising cultural voices, earning acclaim for her distinctive artistry and powerful storytelling.
Her previous single Garden (Bang Goes The Drum) marked a breakout moment, landing across 47 editorial playlists worldwide including the cover of Spotify’s R&B Connect and Big Ancestor Energy, alongside placements on Spotify’s New Music Friday across more than 10 countries and key Apple Music and Amazon Music playlists globally. The release also secured a triple j first play on Home & Hosed, a full rotation add, more than 460 radio spins across 40+ stations, over 130,000 Spotify streams, and editorial support from Junkee, The Music and more.
Beyond streaming success, Becca’s rise has been defined by a string of career defining moments on stage. In late 2024, she was personally invited by Coldplay to perform her original verse on We Pray during two sold out Sydney stadium shows in front of crowds exceeding 80,000 people. She has also shared stages with global artists including Tinashe and Mahalia, while delivering standout performances at Beyond The Valley, Strawberry Fields and the NRL Half Time Show.
With Daylight Robbery, Becca Hatch delivers one of her most captivating releases to date, proving once again that she is shaping the future of Australian music.
proudly supported by: Creative Australia and Sounds NSW
https://www.instagram.com/beccaxhatch/
Aussie Deathcore Titans TO THE GRAVE Announce Signing to BLKIIBLK + Unleash New Single “Eyestalk Ablations”
Touring Australia This September
TO THE GRAVE, the world’s preeminent vegan deathcore band, officially announce their signing to BLKIIBLK. To mark the new chapter, the band unleash “Eyestalk Ablations,” their first new music since mid-2025, alongside a shocking music video.
The track marks their first release for BLKIIBLK, while their recently announced North American tour (tickets on sale Friday, June 12 HERE) sees the band return to the continent for the first time since 2024, when they toured with Oceano.
On their signing, Mike Gitter, Global Head of A&R for Frontiers Label Group and BLKIIBLK Label Head, shares: “BLKIIBLK is proud to be working with Australia’s TO THE GRAVE. From ethic to execution, they are hard-working and completely uncompromising. TO THE GRAVE musically assaults, but they also inform with a message that fights for pro-human and pro-animal rights in a desensitized world. A call for direct action, brutal sounds, and a key addition to the BLKIIBLK roster.”
Vocalist Dane Evans comments on the signing: “Being signed to BLKIIBLK is another clean, exciting gear in the meatgrinder and we couldn’t be more stoked to be working with the team there. Can’t overstate how cool it is to be locked in with the legends there, alongside some bands and names we’ve looked up to most of our lives. Lots of big bullets loaded into this thing, very excited to see the damage they’re capable of.”
Watch the Music Video for “EYESTALK ABLATIONS”
https://youtu.be/O_5DA4hSadA
About “EYESTALK ABLATIONS” and it’s accompanying video, Dane Evans chimes: “‘EYESTALK ABLATIONS’ is a shotgun blast to the face: claustrophobic, heavy from front to back and not a second wasted on room to breathe. This track feels like the old version of TTG got dragged out the back and shot, then someone bagged up the bits and made a monster out of it with some parts of Lamb Of God and Cerebral Bore to make up what’s missing.”
He continues, “The video might be the most fun we’ve ever had filming and it’s the first one I wasn’t the one covered in fake blood, for once everyone else got to be that guy. It was a blast. Massive thank you to Colin Jeffs for pulling no punches on a really cool concept and QLD police for not being able to find the place.”
Stream / Listen to “EYESTALK ABLATIONS”
https://ffm.to/tothegrave-eyestalkablations
On their upcoming tours, bassist Matt Clarke exclaims: “These are the heaviest lineups we’ve ever put together, and we can’t wait for these shows across North America and at home in Australia. For North America, all these bands have a different approach but the one thing that brings it all together is intensity! We’re stoked to be teaming up with Crown Magnetar for this run, and having Face Yourself on the package just makes it more crushing. We’re very excited that we get to play with OG Chelsea Grin members back on-stage for the first time in Ameonna, and I Declare Warhopping on for some shows is awesome! Backbiter, Tracheotomy and Squelching will all be bring their own brands of brutality to the tour. No matter what show you’re hitting, you’re in for a treat.”
AUSTRALIAN TOUR DATES
Wednesday September 2 – Amplifier Bar, Perth*
Thursday September 3 – Lion Arts, Adelaide^
Friday September 4 – Singing Bird, Frankston
Saturday 5 September – Max Watts, Melbourne
Sunday September 6 – The Baso, Canberra +
Thursday September 10 – Crowbar, Sydney
Friday September 11 – Hamilton Station, Newcastle
Saturday September 12 – The Triffid, Brisbane
*No Algor Mortis or Bloodmouth
^No Bloodmouth
+No Algor Mortis
Tickets from
https://daltours.cc/ToTheGrave
**********
Militant vegan deathcore crew TO THE GRAVE are one of Australia’s most uncompromising bands, going so far in their convictions to declare ‘Everyone’s a Murderer’ with their 2024 album of the same name. It’s a proclamation they’ve been making since 2010, albeit less directly, with anti-human slabs like 2023’s ‘Director’s Cuts’ (and the companion EP, ‘Offcuts’) and 2021’s ‘Epilogue,’ itself an expansion of 2019’s ‘Global Warning’ with now-classic ragers added.
And rage they do, with Revolver declaring them “one of the country’s heaviest exports.”They make good on that both back home and the world over, via relentless tours with the likes of Lorna Shore, Thy Art Is Murder, Shadow of Intent, Signs of the Swarm, Carnifex, I Killed the Prom Queen and Oceano. Through all that globe trotting, the band have earned positive media attention, described in the press as “one of the most intense, enthralling bands the genre can offer” by Distorted Sound.
Aussie tastemakers Wall of Sound take it one step further with a declaration that TO THE GRAVE “are destined for greatness. The future of Australian deathcore is here.”
FOLLOW TO THE GRAVE:
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HOLLY HEBE Embraces Chaos, Heartbreak And Escapism On New Single ‘Crying Your Eyes Out’ + Announces ‘Mood Ring’ National Tour
Holly Hebe continues her rapid ascent as one of Australia’s most exciting breakthrough artists with the release of her new single Crying Your Eyes Out, alongside the announcement of her forthcoming EP Mood Ring and a 2026 Australian and New Zealand headline tour presented by triple j.
No longer Melbourne’s “best kept secret”, Holly has carved out a distinctive place in Australian indie pop through piano driven melodies, emotionally precise lyricism and cinematic dream pop production that sits alongside artists like Oklou, Clairo and Mallrat.
Produced with Dennis Neuer, known for his work with Milky Chance, Crying Your Eyes Out captures the emotional contradiction of trying to outrun heartbreak through noise, movement and distraction. Pulsing with euphoric energy while quietly unraveling beneath the surface, the track explores loneliness hidden inside crowded rooms, late nights and temporary connections, while balancing edgier production with delicate and intimate vocal moments.
“This song is about distracting yourself from heartbreak with nights out, loud music, playing shows and meeting strangers. It’s about seeking out environments where you are physically surrounded by people, chaos, lights and music as some form of bandaid solution, and then crying about how lonely you are deep down,” Holly shares.
The release also arrives alongside the announcement of Holly’s third EP Mood Ring, due July 17, and a six date Australian and New Zealand headline tour, including her first ever New Zealand headline show presented by Live Nation through their NEXT ON program. All dates will feature support from Sammi Heaney.
Currently touring with Aleksiah, Holly has quickly established herself as one of Australia’s most compelling young live acts, selling out headline shows across Sydney and Melbourne while also appearing at major festivals including Beyond The Valley and the Australian Open. Her growing live reputation has also seen her share stages with Holly Humberstone, Rainbow Kitten Surprise, The Dreggs and The Rions.
Previous single Birthmark received a triple j Breakfast first play with Concetta & Luka alongside playlist support across Spotify’s New Music Friday AU & NZ and Apple Music’s New Music Daily, while Swimsuit landed on Spotify’s hits different and New Music Friday AU/NZ.
With more than 5 million streams globally, over 50 DSP editorial playlist adds, official showcases at SXSW Austin and SXSW Sydney, and coverage from Rolling Stone AU & NZ, Sydney Morning Herald, Music Feeds and Atwood Magazine, Holly Hebe continues to evolve into one of the defining new voices in Australian indie pop.
TOUR DATES
HOLLY HEBE – MOOD RING TOUR
WITH SPECIAL GUEST SAMMI HEANEY
JULY 24 – Sydney, AU
JULY 25 – Brisbane, AU
JULY 29 – Auckland, NZ (NEXT ON)
JULY 31 – Adelaide, AU
AUGUST 1 – Perth, AU
AUGUST 8 – Melbourne, AU (Matinee)