SNIPPETZ: THURSDAY AUGUST 21, 2025

SNIPPETZ: Thursday August 21, 2025
This week’s Snippetz features: Paradise Lost, AURI, Emily Ulman, St Paul & The Broken Bones, The Hives, Kingswood, Rise Against, Karly Jewell, Zehya, The Dirty Beat, Moody Mcivor, The Beaches, Teed, Georgia Mulligan, Letters To Lions, Wilsn, Jo Caseley, Wednesday, Miramar, Abbey Lane, Jim White, Benny Morrell , The Audreys, Miya Folick, The Halo Effect and much more.

 

 

PARADISE LOST Delivers Goth Metal Masterpiece ‘Tyrants Serenade’ + New Album, ASCENSION, Out Sep 19th Via Nuclear Blast Records

Legends of doom, PARADISE LOST have debuted their riveting 3rd single ‘Tyrants Serenade,’ a 4+ minute goth metal opus of epic proportions and bleak new staple in the band’s celebrated catalog. The standout track is found on their eagerly awaited album Ascension, out September 19th from Nuclear Blast Records.
Giving context to the song, vocalist Nick Holmes says: “Observing the death of an individual, and subsequently, how the transition of seasons evokes fond memories. The God of Malevolence serves as an internal voice to dismantle those cherished memories and reintroduces the initial anguish of loss.”
On one of their boldest singles to date, PARADISE LOST meld crunchy riffs and soaring guitar melodies with juxtaposing anthemic clean and harsh vocals. The memorable new track is accompanied by a stunning video directed by longtime collaborator Ash Pears (HOST, BLOODBATH, KATATONIA).

Stream ‘Tyrants Serenade:
https://paradiselost.bfan.link/tyrants-serenade
Pre-order Ascension:
https://paradiselost.bfan.link/ascension

‘Tyrants Serenade’ Music Video: https://youtu.be/C1_kMRiyt5w

PARADISE LOST’s first album in 5 years, following 2020’s critically acclaimed Obsidian, was produced by guitarist Gregor Mackintosh and mixed/mastered by Lawrence Mackrory. Ascension is a testament to the band’s longevity and relevance over their 35+ year career, encompassing their signature styles of gothic, death and doom fans have cherished along the way.

Ascension’s album cover fittingly features the painting The Court of Death (1870-1902) by renowned British artist George Frederic Watts, which hangs in the Tate Gallery in London. The painting depicts Death as an enthroned angel flanked by allegorical figures of Silence and Mystery guarding sunrise and the star of hope, while a warrior surrenders his sword and a duke his coronet, showing that worldly status offers no protection. The painting’s bleak, prophetic vision embodies Ascension’s dark, tormented soundscapes as mournful verses collide with dire, foreboding riffs.

Commenting on the record, Holmes states: “Ascension is a cavalcade of molten misery, a vigorous sorrow filled stroll through a wicked world of glorious triumph and pitiful tragedy.”

About PARADISE LOST:
More than three decades into their career, and with over two million albums sold, PARADISE LOST remain the undisputed kings of metal’s dark side. Formed in Halifax in 1988, the band quickly became noted as the pioneers of gothic metal through their early groundbreaking albums like 1991’s aptly-titled Gothic, a mixture of heaviness intertwined with shadowy melody and atmosphere.
Never a group to remain creatively static, across their career they’ve explored a myriad of avenues of dark music, from sludgy doom-death roots, to conquering the metal mainstream with the enormous, lush sounds of 1995’s Draconian Times, to more experimental, electronic leanings, leaving an influence on a trail of artists as varied as CRADLE OF FILTH, HIM, GATECREEPER and CHELSEA WOLFE.

Now, in 2025, the Yorkshire quintet return with their staggering 17th album, Ascension, a record that sees their crown continue to gleam as it underlines just how they attained their position. Produced by guitarist Gregor Mackintosh at Black Planet studios in East Yorkshire, with drums and vocals captured at NBS and Wasteland studios in Sweden, its 10 tracks traverse the multitude of sounds in the band’s arsenal, from full-bore heavy metal to sky-high melody, all the while keeping a minor-key melancholy that remains irresistible.

Follow PARADISE LOST: Website | Facebook | Instagram | X | Youtube | Spotify | Apple Music | Bandcamp

 

 

AURI Release Their Enchanting Third Album III – CANDLES & BEGINNINGS + Check Out The New Lyric Video For ‘Blakey Ridge’

Today marks the highly anticipated release of III – Candles & Beginnings, the third studio album from AURI — the visionary musical collaboration of vocalist Johanna Kurkela, Nightwish keyboardist Tuomas Holopainen, and multi-instrumentalist Troy Donockley.

With III – Candles & Beginnings, AURI once again open a portal to an otherworldly soundscape where folk, progressive rock, symphonic textures, world music, pop, and avant-garde elements entwine. At the heart of the album lies Kurkela’s ethereal voice, soaring across lush sonic landscapes crafted by Holopainen’s emotive keyboard playing and Donockley’s eclectic instrumentation.

This new release is a tapestry of emotion and imagination, where each track tells its own story — from nostalgic reflections to deeply personal experiences.

Coinciding with the album’s release is the launch of the third single, ‘Blakey Ridge’, accompanied by a brand-new lyric video. Joyful and transportive, the track pays tribute to The Lion Inn at Blakey Ridge, a historic and beloved pub nestled in the remote beauty of the North York Moors — a personal haven for the band.

Troy Donockley comments: “Can the remote, isolated, back of beyond feel like home? Is the middle of nowhere the middle of everywhere?

The sun is setting.
The moon is rising.
The night is coming.
The Lion is waking…
We’ll meet you up on Blakey Ridge.”

III – Candles & Beginnings is not just an album; it’s a journey to be felt with the senses, a sanctuary for dreamers and seekers alike.

Watch the lyric video for ‘Blakey Ridge’: https://youtu.be/ZHJd6DJUU6E

Stream the album on all platforms: https://auri.bfan.link/iii-candles-beginnings

AURI online:
https://linktr.ee/auri.band

https://www.backstagerockshop.com/collections/auri

 

 

EMILY ULMAN RETURNS WITH SPARKLING NEW SINGLE SEVERE CLEAR

A bright and dulcet addition to her ever-growing repertoire, Melbourne/Narrm singer-songwriter, and music industry legend, Emily Ulman today returns with  Severe Clear, the sparkling title track  from her forthcoming album of the same name set for release on Friday, October 10.
Blending her buoyant charm with acoustic, folk and pop elements, Severe Clear channels a poignant optimism, with Emily nodding to Johnny Nash’s I Can See Clearly Now to evoke “the hope after the heavy.” As Emily explains, “Severe clear is an aviation term describing skies so clear and cloudless that the endless visibility is too much to take in. I have always loved the phrase. Severe clear weather often follows a storm, and that resonates with me too. A furious, cloudy pocket of weather giving way to something calm and bright and still. Pilots say these conditions are dazzling,almost too perfect.”

“Severe Clear is a song about the moments that arrive after everything has settled,” Emily adds. “It’s about clarity that is so beautiful it is almost unbearable. That strange kind of beauty: perfect, but piercing. I think about weather a lot. I lean right in because it is intrinsic. And magical. This song lives in that space between forecast and feeling. It is about the quiet, everyday moments that suddenly become enormous in their clarity. Like standing in the middle of something spectacular and letting yourself be swept up by it. It is about love, about letting yourself be soft and fall, it’s about buying matching towels because you want to be one and the same. Johnny Nash wrote ‘I Can See Clearly Now’. And I’m borrowing the idea that after the clouds and hard times pass, something brighter takes their place. Sometimes clarity isn’t sharp or sudden or cold. Sometimes it is soft and patient and a little bit dizzying. And perfect.”

With Severe Clear – both the single and broader album – Emily worked alongside a stellar team to realise her creative vision. Produced and mixed by Bonnie Knight (Amyl and the Sniffers, Angie McMahon, Teen Jesus and the Jean Teasers) at The Aviary, with Every Hillside recorded at Soundpark, the album was mastered by Simon Berckelman (Courtney Barnett, Passenger, Lime Cordiale, Cate Le Bon). Drawing inspiration from the likes of Julia Jacklin, Adrienne Lenker, Big Thief, Pinegrove and Bill Callahan the album’s songwriting, structure and emotional weight are further enriched by contributions from Gab Strum (Japanese Wallpaper, Mallrat, Gretta Ray), Alex Lashlie (Closet Straights, Loose Tooth), and Soren Maryasin (Stella Bridie, Chitra).

Beginning with its glowing title track, Severe Clear opens on a serene and stirring note, offering an optimistic warm embrace drawing listeners into Emily’s inner world. From there, the album moves through intimate acoustic beauty and soothing harmonies (Every Hillside), wistful melodies over ethereal backdrops (Fans in the Stands), and a folksy yet cinematic ode to life’s highs and lows (Mountains Mountains Mountains). It balances polished introspection (Trundle), stripped-back glimmers that swirl through your bones (Lake Mistake), and gentle flourishes of empowerment (Planned Burn). At the midpoint of Severe Clear, is an exquisite, vulnerable modern love ballad (Liminal Spaces) that gives way to brooding melancholia (Toughest Tourniquet), before the raw, rousing penultimate track If It Isn’t True, where Emily shifts between vocal serenity and spoken word over sparse, moody instrumentation. Closing with Repeat Things, Severe Clear ends in resounding clarity and vulnerability, carrying inescapable undertones of optimism through heartache, change, and renewal – a perfect embodiment of Emily’s potent songwriting and performance, as well as the broader album’s themes.

“Severe Clear is about change,” shares Emily, “and renewal. About being brave enough to step back into something you love, even after a long absence. It is an album full of mountains and hillsides and clouds and clarity. It is about duality. The ability to hold two conflicting and coexisting truths at the same time. Severe Clear is deciduous. A letting go and a returning. A way to make peace with the cycles that keep pulling me back to songwriting, and back to myself.”

A defining force in the Australian music industry for over two decades, both on stage and behind the scenes, Emily Ulman’s lengthy tenure championing artists has seen her curate and program lineups at some of Melbourne’s most iconic venues, including The Prince Bandroom, The Gasometer Hotel, and The Toff In Town. Additionally, Emily has programmed some of the country’s most significant music events, including Brunswick Music Festival, White Night Melbourne, the CHANGES summit, and her own award-winning online festival Isol-Aid, which received the 2020 triple j J Award for “Done Good” and was named Best Festival at the 2021 Music Victoria Awards. Recently, Emily served as Executive Program Director for ALWAYS LIVE, a Victorian state-wide celebration of contemporary music, inclusive of emerging artists through to international icons, from sell-out stadiums through to intimate venues all playing home to these one-off, exclusive and community-focused events.

Dedicated to shaping a more progressive, inclusive and artist-first Australian music scene, Emily’s creative output is as acclaimed as her work behind the scenes, with her earlier 2025 single Every Hillside marking her first new solo material in over a decade. Now with her stunning and hotly-anticipated new album Severe Clear set for release this October, Emily has channelled her passions and creative core into a collection that is honest, intimate and destined to captivate.

“I’m a words and feelings to the front type of writer,” Emily reveals. “I have described my songwriting as emotional archaeology; digging through my memories to see what might still be living underneath. To sift and sort and better myself as a creator and as a person. I’m constantly taken by the intensity of a moment or phrase and the way a single word can unearth something you thought was long buried. And this is who I realise I am. I write to excavate. I sing to archive and fossilise and remember the mess and magic of it all.”

“It feels really good, really scary, really perfect, really disorienting to be releasing Severe Clear,” Emily concludes. “This is the first time in ten years that I’ve released music and it’s so familiar and wildly foreign. I’ve spent the past decade working behind the scenes in the music industry, but I never stopped writing. I’m glad that Severe Clear is the song and album returning me to my own music and creativity. It’s honest and personal, and I’m proud of it.”

Severe Clear (single) is out now.
Severe Clear (album) is due out Friday October 10.

Pre-order: SEVERE CLEAR (Album)

“Emily Ulman you’ve done it again, it’s an exquisite song, ‘Mountains Mountains Mountains’…. it’s so lovely to hear a voice that we know so well as a co-host and a conversationalist, to hear that voice just amplified and there’s an alchemy that takes place that turns the voice we know into lyrical mode, it’s very specially to hear that tune…. what a storyteller, it’s a short song at 2 minutes 12 but she just packs so much in”. –  David Astle – ABC Victoria statewide evenings

Follow Emily Ulman https://taplink.cc/emilyulman

 

 

 

ST. PAUL & THE BROKEN BONES SHARE NEW SINGLE “FALL MOON”. 6TH STUDIO ALBUM, THE SELF TITLED ST. PAUL & THE BROKEN BONES, OUT OCTOBER 10

St. Paul & The Broken Bones, who NPR Music has hailed as “one of the nation’s best live bands,” have shared “Fall Moon” the latest single from their forthcoming 6th studio album, the self-titled St. Paul & The Broken Bones (October 10th, Oasis Pizza Records). “‘Fall Moon’ is a love song that is written for someone who loves words by someone who feels they lack the vocabulary to match that energy,” shares the band’s Paul Janeway. “A song meant to be read on paper. There are references of grammatical errors. Tongue in cheek. I can’t help but sing it with a smile. The original verse melody came from a trombone melody that our very own Chad Fisher wrote. I thought it was such a good melody that it shouldn’t be wasted on the trombone but for the verse vocal melody. The chorus was birthed by the band sitting in the studio together and it magically came out. This is probably the happiest song St. Paul & The Broken Bones has ever written. Don’t get used to it.” Watch the visualizer for “Fall Moon” here.

The band will release their 6th studio album, the self-titled St. Paul & The Broken Bones, on October 10th via their own label Oasis Pizza Records, distributed by Thirty Tigers. The album, from the ever-evolving Southern-soul giants, signifies both a reinvention and a reunion, stretching out with the confident experimental spirit of The Alien Coast and (2022) and Angels in Science Fiction(2023), but with a warmer, accessible and fun sound that recalls the exuberance and buoyancy of their breakout debut, Half the City (2014). “It’s the outcome of the book we wrote with the last records,” Janeway says, “The self-titled album is what the band is now. I think the band in general feels reignited. I’ve had this conversation with bassist and co-founder Jesse Phillips, who said, ‘I don’t know where we can take this. But we have the opportunity to make any kind of record we want. Before, the band thought, ‘How far can we take it?'” Now? “It’s ‘What is the band great at? What lessons have we learned?’” St. Paul & The Broken Bones is available for pre-order on all formats here.

With the new LP, co-written and produced with the decorated Eg White (Adele, Florence + The Machine, Sam Smith) and tracked with the band – consisting of Janeway, Phillips, guitarist Browan Lollar, drummer Kevin Leon, keyboardist Al Gamble, trumpeter Allen Branstetter, saxophonist Amari Ansari, and trombonist Chad Fisher— at the renowned FAME Studios in Muscle Shoals, the band decided to stop pushing so hard and simply focus on classic “song craft.” For Janeway, these 10 thrilling tunes feel like “comfort food,” like hanging out at a “great barbecue joint.”

The album follows 2023’s Angels In Science Fiction and with that vibrant era in the rear view, there was an opportunity to regroup, which resulted in a return to their roots, if through a circuitous path. Janeway started collaborating with a series of co-writers and featured artists, eventually finding the perfect partner in White: a prolific, London-based pop-rock veteran who’s co-written and produced hits with stars like Adele (“Chasing Pavements”) and Celine Dion (“Water and a Flame”). Aided by that expert ear, Janeway finished a batch of new music he was proud of—but he pivoted back to full-band mode in January ’24, regrouping with his old friends at FAME Studios, where they’d mixed their debut, Half the City, over a decade earlier.

It had been several years since they’d written together in this format and the session and Phillips asked an intriguing question: ‘Hey, man, can I hear some of the stuff you wrote with Eg White?” Janeway was initially reluctant to bring this music “into the band sphere,” but his co-founder convinced him otherwise. They dusted off some of those tracks, melding them with the new group-written material “Basically our philosophy for the record was ‘best song wins,'” the frontman says.

The resulting songs felt like a comforting hug, lived in, confident, and fun. “Fall Moon,” includes a rippling Hammond organ and nostalgic brass; the bluesy “I saw the light” with a chorus of the swaggering “Ooo-Wee”; the stabbing electric keys and signature falsetto sweetness on “I Think You Should Know”; the deep-pocket bass and growling hooks on “Nothing More Lonely”; the breezy slice-of-life that is “Seagulls,” St. Paul still branches out in subtle ways stretching out the experimental muscles the band has developed over the years.

With St. Paul & the Broken Bones, Janeway felt like they’d taken their sonic searching as far it could go—or at least “without doing some kind of death-metal album.” But it raised a lot of important questions: “‘What are we doing? What is the band now?’ You go through that kind of identity-crisis stuff. What is the band, and is this still creatively satisfying?” The answer is a resounding yes. “Making this record was a long journey, but I think it’s one of those rare times where it felt really worth it,” Janeway says. “It feels very much like a renewed energy. And who knows? We might make our death metal record next.”

WATCH THE VISUALIZER FOR ‘FALL MOON’

FOLLOW ST. PAUL & THE BROKEN BONES: Website | Instagram | Facebook | Twitter | TikTok

 

 

 

NEW SINGLE – THE HIVES FOREVER FOREVER THE HIVES OUT NOW. WATCH THE VIDEO HERE. NEW ALBUM, THE HIVES FOREVER FOREVER THE HIVES OUT ON PLAY IT AGAIN SAM ON AUGUST 29

 To Whom It May Concern, Which is everyone.
This message is to inform you that International Rock Sensation The Hives, the best live band on the planet and still your new favourite band, lauded on all continents for their masterful skill and reckless abandon in the rock music field, have today released their latest anthem, The Hives Forever Forever The Hives.

The title track and parting declaration from their seventh long-playing opus, The Hives Forever Forever The Hives, which will be released upon the 29th day of August in the year 2025, through the venerable Play It Again Sam, the single follows previous smashes, Enough Is Enough, Paint A Picture and Legalize Living.

Talking about the track, in their own words, The Hives declare: The song is a celebration of all things Hives. We wanted to end the record with a feeling of release and relief. Finally realizing that we made something that will last forever. A rare occasion for us to quickly glance over our shoulder before moving forward. Like a marathon winner seeing who is coming in second. We say The Hives Forever, you say Forever The Hives. That’s all it takes.

This is the rock music, this is the classical music, this is forever.
Listen to The Hives Forever Forever The Hives HERE.

By the grace of artistic grandeur and noble vision, it has also come to pass that a video, most illustriously directed again by the esteemed Filip Nilsson who oversaw the Legalize Living and Paint A Picture videos, was the first of its kind to be captured within the hallowed halls of the prestigious Stockholm City Hall — a venerable seat of honour and the noble home of the Nobel Prize Hall.

And the opening scene employed an authentic Viking vessel, heralding a tribute most fitting to a band of such towering stature.

THE HIVES FOREVER FOREVER THE HIVES (SINGLE) – OUT NOW https://the-hives.ffm.to/forever-single

THE HIVES FOREVER FOREVER THE HIVES (ALBUM) – OUT 29 AUGUST

https://the-hives.ffm.to/forever-album

 

 

 

KINGSWOOD UNVEIL NEW SINGLE “LOVIN’ A GIRL”

Multi-Platinum & Gold ARIA-certified, ARIA-nominated, and 4x Golden Guitar-nominated powerhouse KINGSWOOD is back with its latest single, “Lovin’ A Girl” – a heartfelt, guitar-driven ode to classic Country Rock released on August 15.

Check out the funny, cheeky video here, which is great entertainment value!

With over 90 million global streams and a career spanning more than a decade, KINGSWOOD has solidified its status as one of Australia’s most enduring and genre-defying bands. Known for seamlessly straddling the line between rock and country, the band’s new release plants its boots firmly in the dust of Americana, echoing the musical spirits of Neil Young, Gram Parsons, and Tom Petty & The Heartbreakers.

Written aboard KINGSWOOD’s legendary tour bus ‘Peggy’, “Lovin’ A Girl” taps into the golden era of American songwriting – equal parts nostalgic and emotionally nuanced. With ringing guitars, warm harmonies, and a story steeped in the tension between desire and guardedness, the track explores the delicate dance of love and self-preservation.

Born from a love of vintage rock, country soul, and storytelling that lingers, KINGSWOOD is where Tom Petty meets Alan Jackson, and Johnny Cash shares a whiskey with Lynyrd Skynyrd – a perfect intersection of grit, groove, and heart.

“Lovin’ A Girl is a pondering of scenarios where, after subsequent heartbreaks, I’ve always been incredibly apprehensive to delve into developing something again,” says guitarist Alex Laska. “So, I play a game where I imagine relationships or a fantasy that plays out very quickly in my mind of what that relationship would have been like. And then it ends, and none of it takes place.”

“We were in Brisbane sitting at the front of our tour bus and were supposed to go out and meet up with a bunch of people,” vocalist Fergus Linacre recalls of writing “Lovin’ A Girl”. “We started playing and just got on a roll and became really excited about the song we were writing. Then suddenly it was midnight, and we missed the whole reason we went to Brisbane!”

This single sets the tone for KINGSWOOD’s forthcoming album – a pure country rock journey that reaffirms their place among Australia’s most versatile and authentic musical storytellers.

Fans of classic country rock will have the chance to experience KINGSWOOD’s new era live when they hit the stage at Gympie Music Muster, Savannah in the Round Festivals, as well as The Bend Classic later this year, and Tamworth Country Music Festival in 2026.

UPCOMING SHOWS: Tickets available at kingswoodband.com22 Aug – Harbord Hotel, Freshwater, NSW

23 Aug – Long Jetty Hotel, Central Coast, NSW
28 Aug – Mo’s Desert Clubhouse, Burleigh Heads, QLD
29 Aug – Norton Music Factory, Caloundra West, QLD
30 Aug – Gympie Music Muster 2025, Amamoor Creek, QLD
09 Oct – Savannah in the Round 2025, Mareeba, QLD
24-26 Oct – The Bend Classic, Shell V-Power Motorsport Park, SA

 

 

 

Moody Mcivor drops debut single ‘Ronnie Adelene’

A new chapter begins for Moody Mcivor — the latest project from Chris Mcivor, founder of cult underground label Nerang Recordings. Previously known for his club-leaning work under the DJ Whipr Snipr moniker, debut single ‘Ronnie Adelene’ sees Mcivor shed the dance floor for something far more introspective and intimate.

Blending gothic textures, mechanic post-punk melancholy, and darkwave atmospheres, ‘Ronnie Adelene’ signals a bold and vulnerable new direction. Inspired by artists like John Maus, Eli, Boy Harsher, Joy Division, and Black Marble, Mcivor channels raw emotion into a sound that feels both nostalgic and deeply personal.

“Originally, the project began in my bedroom – much like my label – and grew from a very personal, grassroots place,” Mcivor shares. And that spirit of creative independence runs throughout the track. While the initial writing and recording were done solo, Mcivor later brought in close friend and collaborator Felipe Bortoloti (Nørus), to help shape the final sound — contributing to arrangement tweaks, additional production, and handling the mixing and mastering.

However, Moody Mcivor represents more than just the music — it’s a testament to endurance and creativity through hardship. “I’ve experienced some of life’s toughest challenges, yet I’m still here – as a father, a record label owner, and a creative,” says Mcivor. “That resilience, and the drive to keep moving forward no matter what, shapes my music and my story.”

MOODY MCIVOR is – Chris Mcivor (he/him) vocals, drum machine, synth

Additional production, drums, synths, piano and bass guitar by Felipe Bortoloti (Nørus), a Brazilian-born sound designer and producer now based in Portugal.
MOODY MCIVOR ONLINE Instagram | Facebook | Bandcamp | Spotify

 

 

 

Human Intrusion unveil radiant new single ‘Ultraviolet’

Human Intrusion are set to release their first new piece of music since their incredible 2023 self-titled EP. ‘Ultraviolet’ is a dream-pop odyssey, an ecstatic fever dream of bright guitars, metallic drums and powerhouse vocals. Incorporating elements of industrial, new wave and shoegaze, the track sees the project step into a new era, refining their sound and expanding into more textured, atmospheric territory.

The project of Naarm/Melbourne-based duo Lewis O’Brien and Penny Walker-Keefe, Human Intrusion has been built on a steady diet of The Cure, Depeche Mode, and The Chameleons. And while the band’s sound is undeniably shaped by these foundations of 80s post-punk and new wave, the influence of contemporary artists like Tame Impala and Bat for Lashes also weaves through their music. The result is a sound that is distinctly their own – rooted in the past yet boldly forward-thinking.

While writing new songs, science was a key theme for the pair, a broad idea that they kept returning to as a source of inspiration. ‘Ultraviolet’ in particular stemmed from a focus on sunlight; its beauty, and its importance. Its ability to give life as well as damage it. “We’re nerds. We read about physics in bed for fun,” explains Penny. “The song came together with phrases that borrow from physics, like the ionising nature of ultraviolet radiation, and of course, a smidge of rainbow-flecked psychedelia.”

Human Intrusion formed during the hazy days of Melbourne lockdowns in 2020, born out of weekends spent together by Penny and Lewis. Lewis had been developing new ideas and contemplating a fresh project when Penny offered to help. He called her bluff, and before long she was being recruited to handle lyric duties. At first, the process was a little awkward, both of them reluctant to share their ideas and be creatively vulnerable. But the project quickly took flight, evolving into something organic, fluid, and honest.

‘Ultraviolet’ was produced by Human Intrusion and recorded in their home studio. It was mixed by Lewis and mastered by John Lee at Phaedra Studios (Sunfruits, The Murlocs, Mod Con, Laura Jean).

HUMAN INTRUSION is:
Lewis O’Brien (he/him) – guitar, bass, synths, drum programming
Penny Walker-Keefe (she/her) – vocals, bass

HUMAN INTRUSION ONLINE Instagram | Facebook | Bandcamp | Spotify | Apple Music

 

 

 

RISE AGAINST RELEASE TITLE TRACK & FINAL SINGLE FROM RICOCHET

Rise Against have released the title track and final single from Ricochet, their first new album in four years, out now via Loma Vista Recordings.

Arriving in a time when the lies are inescapable, greed is brazen and cruelty is shocking, this 12-track collection reaffirms Rise Against’s role as a north star of artful resistance. While dystopia looms large, Ricochet emphasizes our collective interconnectedness, dissecting these crises with lucid clarity, raw emotion and a global perspective, by way of the band’s most visceral, urgent, and high-stakes music to date: indelible, colossally ripping rock songs that capture the chaos of the moment, articulating complex truths with seismic power and an awareness of the consequences that may befall us.

Amidst a period of nationalist aggression and isolationism, Ricochet puts forth the album’s message of interconnectivity. “We rely on each other, whether we like it or not,” says Rise Against lead singer, rhythm guitarist, and lyricist, Tim McIlrath. “Everything that you do will affect somebody. We’re connected to other countries and other economies; we’re connected to undocumented immigrants. We’re connected to every decision that our leaders make. We are not as isolated as we think. What we do, good or bad, creates one big ricochet effect.”

Opening with an undulating pattern of drum machine and acoustic guitar, before soaring into another sky-rattling anthem, Ricochet is accompanied by an explosive performance video, juxtaposing self-absorption and self-destruction.

Listen to Ricochet here and watch the music video here:

“When I was writing Ricochet, I couldn’t shake this image: people dancing while bombs and bullets careened overhead. That contrast — the obliviousness of joy against the backdrop of destruction — felt like the world we’re living in. The video brings that to life. It’s about more than action and reaction. It’s about how even our silence, even our detachment, carries weight. Every choice, every shrug, every shot fired — they all ricochet,” shares McIlrath.

Produced by GRAMMY®-winner Catherine Marks (Boygenius, Foals, Manchester Orchestra, St. Vincent) and mixed by Alan Moulder (Nine Inch Nails, Paramore, Queens of the Stone Age, The Killers), Ricochet balances introspection with the incendiary, and offers righteousness without sanctimony as it chronicles our collective unraveling. Ricochet follows I Want It All, Prizefighter and Nod, hailed as a “particularly potent rallying cry for the moment” (Rolling Stone), and “the anthem we need right now” (VICE). Across the rest of the album, Rise Against cover apocalyptic scenarios (Black Crown), false promises sold to the youth (Gold Long Gone), the necessity of resisting blind allegiance (Soldier), mental health (Sink Like a Stone), and the sensationalism of the algorithmic entertainment-industrial complex (State of Emergency), all with a sense of optimism for real, lasting change.

Taking inspiration from one of their favorite literary works, Tim McIlrath and bandmates Joe Principe (bass/vocals), Zach Blair (guitar/vocals) and Brandon Barnes (drums) have absorbed the maxim that “in a time of deceit, telling the truth is a revolutionary act.” The mantra has permeated Rise Against’s growing body of multi-Gold and Platinum hits, filling arenas, topping charts, breaking records and earning billions of streams while uniting millions of listeners in a necessary embrace of vital, progressive issues.

Having just made their triumphant return to Vans Warped Tour, while playing LA’s Kia Forum, headlining festivals and touring across three continents this year, Rise Against are getting ready to hit the road again later this year for dozens of arena and amphitheatre shows in the US.

RICHOCHET – OUT NOW https://ffm.to/ricochetalbum

 

 

KARLY JEWELL Drops New Single, Rock Ain’t Pretty from Album There’s A Jewell In Town

Melbourne vocalist, Karly Jewell’s recently released second full length album, There’s A Jewell In Town came crashing into the ARIA Australian Artists Chart at Number 3! One of Melbourne’s most powerful rock voices, Karly is captivating audiences globally with her dynamic sound and heartfelt performances.
The next single from the album is the high energy, Rock Ain’t Pretty.

In her own words, Karly says that “Rock Ain’t Pretty embodies the spirit of rock music, forged through years of overcoming obstacles. The song came to life in the pursuit of living the dream and putting in the hard work. So here’s to more rock and roll and one for all the rock and roll rebels. Keep dreaming big and make your own path. It’s a reminder to keep going – it’s your story!!”

Listen to it here https://lnk.to/BAaVUV

Watch the video here https://youtu.be/Y5FUFSaaRTk?si=_ivkfYFcnYjfS4-B

Karly’s musical journey began at age five, inspired by her late grandfather, Tony Jewell, an acclaimed country singer-songwriter known for his work with Slim Dusty. Her versatility across genres has led her to form a hard-hitting rock band, playing iconic Melbourne venues like The Corner Hotel, Revolver, and The Boogie Man Bar.

Internationally, Karly has performed at renowned venues such as Whisky A Go Go and the Viper Room in Los Angeles. Highlights of her career include a nomination for Up & Coming Rock Band at the Vegas Rock Magazine Awards and top-charting releases on Triple J Unearthed.

Karly recently returned from yet another successful tour of Japan, playing at key events in Tokyo, Yokohama and Osaka!

After teaming up with Mark Dalbeth at management company Rav Medic in 2018, Karly released her debut album “Phoenix” in 2019 and the single “Dancing With The Devil” in 2021. With global radio features and widespread acclaim, her 2022 single “Trouble We Are” received significant love worldwide.

In 2024 Karly signed with XMusic and immediately set about releasing the singles,
Sad Girl, In The Dark, Burn and Other Side, all of which feature on There’s A Jewel In Town.

The album, There’s A Jewell In Town is out now https://lnk.to/w86fWw

TOUR DATES
Sat, Aug 16: Musicland, Melbourne
Tickets
Sat, Sept 13: Hellzarockin Festival, Leadbeater Hotel, Melbourne
Tickets
Sat, Oct 11: Rock Hard Festival, Adelaide
Tickets
Fri, Nov 21: Blvd Of Eyes, Cherry Bar, Melbourne
Tickets
Sat, Nov 29: Dellacoma Album Launch, Musicland, Melbourne
Tickets

Check out Karly Jewell’s Album Merch Range at xmusiclabel.bigcartel.com/karly-jewell
Follow Karly  karlyjewell.com

 

 

THE DIRTY BEAT ‘MARK’ (SINGLE)

This song is about friendships ending and friends ditching friends. It’s about scenesterism and the hierarchy of cool; that awful, painful ranking of people and who makes the cut for the inner circle. It’s about gossip currency, the small and large ways we sell each other out to elevate our own standing. It’s about how badly a buildup of slights – whether perceived or intended – can damage a friendship. It’s about trying to belong, fumbling and stumbling your way into the pretentious group.

And that whatever builds you up, can also tear you down. TL;DR: Good friend? Give it a few years and see. Trying to be part of a scene? Scenes suck, don’t bother.

THE DIRTY BEAT
“What would a rock band sound like before electricity?” Such a question is perhaps best answered by listening to the Dirty Beat.

Created by multi-instrumentalist and recording artist Warren G. Funk, the Dirty Beat is a heavy folk project based in Winnipeg, Manitoba, Canada.

Often described as visceral and raw, the Dirty Beat is characterized by extensive vocal harmonies, assorted folk instruments (including button accordion, mandolin, Irish flute, tin whistle, trumpet, and hulusi), and a hard-hitting rhythm section of drop-tuned acoustic guitar, electric bass and drums.

While some listeners may find commonalities with the likes of Queens of the Stone Age, Ween, or Tom Waits, all comparisons soon fall short due to the “seemingly endless palette of originality that distinguishes The Dirty Beat from other musical acts” (The Tinnitist).

The Dirty Beat has its roots both literal and figurative on a farm in the Manitoba hills where Warren Funk was born and raised. Growing up as a Mennonite preacher’s kid in the 1980’s, television and secular music were largely absent from his childhood. Instead, he was immersed in church music, farm life, and hours of solitude and make-believe spent in the natural world.

With only glimpses of pop culture and the rest filled in by imagination, Funk’s internal landscape as an artist is perhaps somewhat singular. He would later go on to study Music Composition at Selkirk College in Nelson, BC, a rare mountain town amongst whose ghosts and spirits the Dirty Beat was conceived. He then moved to Vancouver, BC, immersed in the grey grit of East Van and the Downtown Eastside. Eventually, the prairies beckoned and Warren returned to Manitoba, where he currently resides with his wife and daughter.

The Dirty Beat’s self-titled debut album spent two weeks on CFUR’s Top 30 chart and was shortlisted for Bad Gardening Advice’s Schmolaris Prize. It received positive reviews from Irregular Dreams, York Calling, Bad Gardening Advice, Canadian Beats, and The Tinnitest, with Baffled Octopi describing it as having “leanings towards bombast balanced by a keen ear for melody” (Irregular Dreams), and Jenna Melanson noting its “unique instrumentation and compositional depth” (Canadian Beats).

Two tracks were featured on Arctic Drones’ Dark Folk playlist, and the album has and continues to receive airplay on college radio across Canada and the US, as well as Brazil and Australia. The Dirty Beat has received funding from Canada Council for the Arts, Manitoba Arts Council and FACTOR Canada.

The forthcoming sophomore album Birthrite: Lancing the Boil will be released on September 26, 2025, with two singles coming out beforehand in July and August. Graeme Smith says it has “poetry and cynicism in equal measure and the compositions stay wonderfully raw and offbeat throughout” (York Calling), while Miguel Castillo calls the new record “a raw and austere sound … visceral and poetic … This release is more than just music; it’s an emotional exorcism in an alternative folk style.”

Best described as a purge and rebirth ritual, Birthrite leans further into symbolism and wordplay, drop-tuned guitar work, hooks and countermelodies, and bass and drums interplay.

Please visit www.thedirtybeat.com for updates, giveaways, and a list of record stores selling LPs, CDs, cassettes, and books.

 

 

 

ZEYAH INTRODUCES HERSELF WITH VIBRANT SINGLE ‘SEE YOU ALL TONIGHT’

At just 12 years old, Eora/Sydney-based artist Zeyah is already making global waves and today reveals ‘See You All Tonight’ – produced by Ethan Reginato at Forbes Street Studios.

Usually leaning into an introspective style, ‘See You all Tonight’ showcases Zeyah’s joyful side in an infectious track that celebrates youth, friendship, and creative freedom. As a gifted singer, songwriter, and music composer – praised for creating songs that far exceed her age, Zeyah was challenged by her mum to write something fun and upbeat – with ‘See You All Tonight’ being the result.

“When I was 9, I began to compose the chords and music to ‘See You All Tonight’ on my piano,” explains Zeyah. “Then, when I was 11, while on a 24-hour plane ride back home from the UK, I started to write lyrics to the song. I gradually built up the lyrics and middle 8 more when I got back home, finally completing it on my piano.
As my songs were mainly sad and melancholy, my mum challenged me to create an upbeat and happy song. I was really proud of myself that I was able to create this fun, upbeat song for my mother.”

The official music video for ‘See You All Tonight’ offers a spontaneous, slice-of-life look into Zeyah’s world – filmed with friends across Dolls Point Beach, Leumeah Skate Park, and the Woodbine Shops. Shot in just one or two takes per scene, with no prep or rehearsal, it captures real moments of joy, movement and self-expression.

Zeyah began composing piano pieces at just seven years old, and by eight, was performing her own songs live to audiences. Inspired by artists like Sia, Alicia Keys, Billie Eilish, and MIIA, Zeyah has developed a unique voice that blends powerful emotion with pop sensibility. She was named the youngest finalist of the International Songwriting Competition out of over 14,000 entries worldwide, placing in the top 1% and earning finalist status in both the Teen and Unsigned categories.

Her songwriting talent also caught the attention of Rick Stevenson, founder of the prestigious Prodigy Camp in the US – a program for the world’s most promising young musicians, filmmakers and innovators. Though the camp is usually only open to those aged 13 and up, Stevenson was so impressed by Zeyah’s work that he awarded her an advanced scholarship at age 11 – the same camp that nurtured rising stars like Chappell Roan.

With ‘See You All Tonight’, Zeyah delivers a radiant debut that reflects not only her technical skill, but also her joy, heart, and fearless creativity. At just 12, she’s already setting the standard for what’s possible – and her journey is only just beginning.

FOLLOW ZEYAH
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SPOTIFY | APPLE MUSIC | AMAZON MUSIC | SOUNDCLOUD | YOUTUBE | WEBSITE

 

 

THE BEACHES SHARE NEW SINGLE “LESBIAN OF THE YEAR”’. NEW ALBUM NO HARD FEELINGS OUT AUGUST 29th

Canadian alt-rock four-piece The Beaches share “Lesbian Of The Year,” the newest single from their highly anticipated upcoming record, No Hard Feelings, out everywhere August 29th via AWAL.

Following the more up-tempo, club-ready energy of previous singles, “Lesbian Of The Year” gives listeners a taste of the band’s extensive range on the upcoming album. The evocative ballad follows member Leandra Earl’s deeply personal story of coming to terms with her sexuality later in life. The sentiment, echoed through the lyrics, is relatable to many who’ve also dealt with similar emotions as they’ve grappled with self-acceptance. The song showcases the band’s continued commitment to authenticity and vulnerability in their music and writing.

“‘Lesbian Of The Year’ is about the shame I felt coming out later in life and the pressure of trying to live up to ‘Lesbian of the Year,’ a title given to me by my sweet fans,” shares Leandra.

The new single follows the release of The Beaches’ cover of “Ultimate” for the official soundtrack of Freakier Friday, Disney’s sequel to the cult classic film starring Lindsay Lohan and Jamie Lee Curtis. The film also features a fan-favourite single from the upcoming album, “Last Girls at the Party”, a true girlhood-anthem with a chorus so contagious, it’s nearly impossible not to sing along to.

Spanning 11 tracks, No Hard Feelings finds The Beaches at their tightest. From the indie melancholy of “Lesbian of the Year”, to the angst of “Can I Call You In The Morning?”, the album is set to solidify the group as one of the driving forces of alt-rock today. It’s an album for dancing through the wins, the lows, and the real. Whatever reason you’re partying, just know The Beaches are out there doing the same, well after the club has closed.

“Lesbian Of The Year” follows previous singles “Touch Myself,” a perfect scream-in-your-car breakup track and “Did I Say Too Much”, which chronicles a head-spinning situationship. Meanwhile, first single “Jocelyn”, released in September of last year, is a dreamy track about imposter syndrome and insecurity.

The release comes after the band’s highly-praised sets at Gov Ball and Osheaga, the latter of which was called “a full circle moment” where “just about everything hit” by Billboard. The band will be making their return on Australian soil next year, playing with G Flip on a string of nationwide dates that kicks off February 27th.

UPCOMING LIVE DATES (W/ G FLIP)

Feb 27 – Riverstage, Brisbane
Mar 3 – Hordern Pavillion, Moore Park
Mar 7 – Margaret Court Arena, Melbourne
Mar 8 – Margaret Court Arena, Melbourne
Mar 12 – AEC Arena, Adelaide
Mar 15 – Freo Social, Perth

‘Lesbian Of The Year’ – OUT NOW
BUY/STREAM HERE
VISUALISER

NO HARD FEELINGS – OUT 29 AUGUST PRE-SAVE HERE

MORE INFORMATION:
WEBSITE
TIKTOK
INSTAGRAM

 

 

THE VENDETTAS RELEASE NEW ALBUM ‘WHO’S WHO IN THE ZOO’

Melbourne rock outfit The Vendettas, have unleashed their most powerful and dynamic work to date with the release of their brand-new album Who’s Who in the Zoo officially available to stream now via Golden Robot Records.

Recorded over two years at Cavern Sound Studios and Colour Sound Studios, the album is a testament to the band’s relentless drive, creative evolution, and raw energy. Known for their stadium-sized sound and unapologetic attitude, the group pushes their musical boundaries without losing their signature punch.

The album opens fire with ‘Jealous and Evil’, a quirky track that not only sets the groove for what’s to come, but also displays that the band has taken things to the next level in the studio for album IV. Another highlight is ‘Lovesick Man’ a snarling, rebellious anthem that demands to be played loud and proud – a true middle finger to societal norms. Watch the music video for ‘This Time Around’ HERE

In stark contrast, the sweeping ballads ‘Out in the Rain’ and ‘Fly on the Wall’ showcase the band’s emotional depth and storytelling prowess, earning their place as standout tracks. From the relentless riffage of ‘Head On Collision’ to the anthemic rally cry of ‘Raise the Weary’, Who’s Who in the Zoo is a record proves that The Vendettas are as versatile as they are powerful.

“This album is the truest expression of what we feel we sound like, in a packed dive bar, with the speakers rattling” says the band. “We wanted to push the boundaries both musically and sonically, and create something we’ve never done or heard before, rather than trying to sound like something, or mimic someone else – and we think we’ve done that.”

Fans of classic rock grit and modern edge will find plenty to sink their teeth into. The album is now available to stream on all major platforms via Golden Robot Records.

Stream Who’s Who in The Zoo HERE

ABOUT THE VENDETTAS
Born from Melbourne’s gritty underground rock scene, The Vendettas have been delivering straight-up, no-frills rock ‘n’ roll since the early 2000s. With a sound soaked in swagger, distortion, and undeniable hooks, the band channels the spirit of classic hard rock while carving out a distinctly modern edge. Think the raw energy of AC/DC, the swagger of The Rolling Stones, and the riff-fuelled urgency of Jet – but on their own terms.

Known for their powerhouse live shows, The Vendettas have earned their stripes on stages across Australia, sharing bills with the likes of Airbourne, Electric Mary, and Dallas Frasca. Their reputation as a must-see live act has made them staples of Melbourne’s pub rock circuit, where their loud guitars and tight rhythms keep the floors shaking and the crowds coming back.

Partnering with Golden Robot Records for multiple releases, including full-length albums and EPs, The Vendettas have refined their sound without ever softening their punch. Their music is honest, riff-heavy, and built to be played loud – with lyrics that speak to heartbreak, redemption, good times, and bad decisions.

Whether they’re tearing up the stage or blaring through your speakers, The Vendettas deliver a relentless brand of rock that’s proudly unpolished and unapologetically loud. No gimmicks. No filters. Just rock ‘n’ roll the way it was meant to be.

CONNECT WITH THE VENDETTAS https://thevendettas.com.au/

 

 

 

TEED RETURNS WITH DUAL SINGLE ‘DESIRE’ / ‘THE ECHO’

TEED (formerly Totally Enormous Extinct Dinosaurs) returns with ‘Desire’ / ‘The Echo,‘ a two-track digital single that offers a stunning introduction to a new chapter in Orlando Higginbottom’s artistic journey. It’s the first new music since 2022’s When the Lights Go and a thrilling glimpse of what’s still to come.

‘Desire’ leads the release – a psych-electro-pop gem built around a propulsive drum groove, hypnotic synth melody, and Higginbottom’s signature falsetto, floating above it all like a ghost in the light. “I’m looking for love in your arms tonight / Is it too late?” he implore’s across the track’s dancefloor pulse. “On that song, I’m yearning for connection at the end of the world,” he explains. The song arrives paired with ‘The Echo,’ an ebullient club track that taps into the joy and inspiration that first made him fall in love with music.

‘Desire’ / ‘The Echo’ is the opening transmission from a body of work that finds Higginbottom reclaiming the joy of creation. In the years since his last LP, he’s deliberately reoriented his process – separating music from industry noise, rediscovering pleasure in songwriting, and reconfiguring his own sense of success. “It’s not nostalgia exactly,” he says of the new music, “it’s more of a reframing of the memory of what music first made me feel from my present perspective.”

With two GRAMMY nominations, global festival appearances, and a stacked list of collaborators under his belt (including SG Lewis, The Blessed Madonna, Mark Ronson, and more), TEED has had plenty of reasons to walk away. But instead, he’s re-emerged, sharper in his focus and more in love with music than ever.

“Making and releasing music is an act of hope,” Higginbottom says. “And hope is resistance.”

For more info on TEED, visit:
INSTAGRAM | TIKTOK | FACEBOOK | X | YOUTUBE | SOUNDCLOUD

 

 

MIRAMAR celebrate their music community on new track Let’s Go Out

2025 has proved a fruitful year for Eora’s favourite genre-blending live-electronic outfit, Miramar. Having released four singles this year, all varied in sound but still distinctly theirs, the group are today sharing the final track ‘Let’s Go Out’ from their sophomore EP Best Of A Thing, out now via Rupert George. Stream HERE.

Best Of A Thing is a record grounded in Miramar’s limitless love for their community. Previous single ‘Hit the Town’ – a collaboration with fellow Sydney outfit Barley Passable – pointed to their love of the Australian live music scene, as a rallying cry against its decline. Before that, ‘Work It Out’ and ‘Highlight Of My Week’ showed there’s power in vulnerability and connection. Lead EP single ‘In the Morning’ saw them dance through some of life’s curveballs, and come out the other side.

Following suit is ‘Let’s Go Out’, an indie-electronic tribute to the positive impact that a good night out with friends can have on mental health. The track features vocals of the band and their friends taken from nights out clubbing or watching live music. These snippets highlight the raw emotion of these moments, and the beautiful simplicity of doing what you love with the people you love.

“There’s a lot going wrong with the world, but with this EP we really wanted to reflect on what keeps us going through it all,” says Miramar. “Those small moments you look forward to, the people who lift you up. Our friends, our music, our community.

“We see a lot of people around us becoming more isolated by work or lifestyle or whatever, with this EP we just want to reach out and let them know that it’s OK to just enjoy your youth a bit.”

In May, Miramar celebrated three years of their self-curated live series Club Miramar with a mammoth lineup of local talent including the likes of Charlie Shell, Roxy Lotz, Bread Club, LUPO.THEBOY and more, hosted back where it all began at Sydney’s iconic Chippo Hotel. Since its inception, Club Miramar has has sold hundreds of tickets across multiple iterations spanning club nights, residencies, and DJ sets.

Earlier this year, Miramar played a career-defining show supporting iconic English electronic duo Groove Armada at a sold out Royal Botanic Gardens in Melbourne. In the months following, Miramar also joined the lineup for shows with Mickey Kojack, Djanaba, and Northeast Party House.

Miramar’s 2025 releases ‘Hit the Town’, ‘Highlight Of My Week’ ‘Work It Out’, and ‘In the Morning’ have been supported on air by triple j and Unearthed, alongside praise from the likes of Rolling Stone AU/NZ, Happy Mag, Women In Pop, The Music, AAA Backstage, and many more. Across their releases Miramar have also landed community radio airplay on FBi, 2SER, SYN (rotation – ‘Hit the Town’), JOY (rotation – ‘Work It Out’) and Bay FM, and have supported Hellcat Speedracer, RAAVE TAPES, Ivey and more.

Having each grown up in regional towns, Miramar – comprised of Rosh Yau (vocals), Sam Langley (producer), and Matt Sampson (producer) – centre the project around community and connection. With their hometown music communities small but tightly knit and indie-oriented, the trio leant on that mentality when relocating to Sydney and meeting at university, and found their place through creating music and embracing the local live scene.

Best Of A Thing EP  out now via Rupert George

About Miramar
From insightful songwriting with raw, danceable production to powerhouse performances & curated club nights – it’s all about bringing people together for Sydney/Eora-based live-electronic outfit Miramar.

With a rapidly growing catalogue of indie-dance anthems & a captivating live show, the band have carved out a reputation that has led to them sharing stages with the country’s best electronic artists & having their music spotlighted by renowned tastemakers such as Rolling Stone, triple j, Women in Pop, Acid Stag, Purple Sneakers & more. Miramar are quickly proving themselves as one of the country’s most exciting live-electronic acts.

Connect with Miramar https://www.facebook.com/miramarmusic100/

 

 

 

Chloe Styler Breaks New Ground With Upbeat Single ‘Push & Pull’  Ahead BIGSOUND of Showcase

With her gleaming vocals and soothing guitar, Aussie pop artist Chloe Styler is sharing her upbeat single ‘Push & Pull’, ahead of her appearance at BIGSOUND 2025.

Her latest single ‘Push & Pull’ sees Chloe Styler stepping beyond her country roots, embracing a brighter, more melodic pop sound while still capturing the emotional core she’s known for. Her signature warmth and subtle country inflection remain, guiding the track through shimmering guitar lines, upbeat drum and irresistible hooks.

In this song, Chloe Styler explores the ups and downs, the hot and cold, the push and pull of a relationship and all the overthinking and arguments that come with it. She states:

“I wrote this in the aftermath of one of those situationships that truly messes with your head. The kind where they reel you in just to push you away again. I knew I didn’t want them back, but couldn’t help wondering why I was still so wrecked? This song was me being brutally honest about the emotional whiplash and saying, ‘Yeah, this sucks. And it’s not love, it’s just toxic.’

Through her natural talent for combining earworms with storytelling, Chloe Styler was named ‘Breakout Artist of the Year’ at the 2024 Gold Coast Music Awards, and has captivated the public worldwide, from Nashville’s CMA Fest and The Bluebird Café to supporting the likes of Shannon Noll, Jem Cassar-Daley and KINGSWOOD.

With energetic live performances at major festivals such as Falls Festival Byron Bay, Americana Fest (USA),  Gympie Music Muster and Groundwater Country Music Festival, it’s no surprise she’s a notable act for the upcoming BIGSOUND 2025 music festival.

Chloe Styler will light up BIGSOUND 2025 with her magnetic live presence, unveiling ‘Push & Pull’, a dreaming, euphoric step beyond the country mould that first defined her.

Chloe Styler breaks new ground with her stunning release ‘Push & Pull’, out now.

BIGSOUND 2025 – Details here

Tues, Sept 2 – Rics Backyard, 7.30pm
Wed, Sept 3 – Country Showcase @ Brunswick Street Mall Stage, 4.30pm – 6.30pm
Wed, Sept 3 – Honky Tonks, 9.15pm

Follow Chloe Styler Official Website | Spotify | Bandcamp | Soundcloud | Facebook | Instagram | TikTok | YouTube

 

 

 

MIYA FOLICK SHARES NEW SINGLE “ELTON JOHN”. SUPPORTING MAREN MORRIS ON US TOUR

Los Angeles-based artist Miya Folick returns with her most personal release to date, “Elton John”—a hauntingly beautiful tribute to loss, memory, and the enduring power of music. Written in the wake of her father’s passing, the track captures the aching disorientation of grief, the intimacy of shared musical lineage, and the lingering presence of a loved one. It weaves this deep emotional current together with atmospheric textures and raw lyricism.

Folick explains, “After my dad died, I spent the following weeks at my parents’ house, getting used to the idea of calling it ‘mom’s house’ and helping her plan the funeral. The first time I came back up to LA, I drove aimlessly through the city, listening to music and crying. I felt the presence of my dad as a young man, living in Los Angeles just like me, loving music just like me. We were different in many ways, but my dad and I could always connect through music. When I had a show at the Troubadour, my dad was excited because he’d been going there since he was a teenager. He liked talking about how he saw Elton John play there in 1970. What an iconic moment. What a part of music history. That’s where the title and the idea of this song comes from. ‘Elton John’ is a song about grief and Los Angeles, and how the people we love are so richly present after we lose them.”

LISTEN + SHARE: MIYA FOLICK “ELTON JOHN”

https://miyafolick.ffm.to/eltonjohn

The single will be featured on an upcoming Deluxe version of Folick’s self-produced third album, Erotica Veronica. The record is her psychosexual, psychosensual masterstroke: a kaleidoscopic portrait of self-realization and integration. There is a dilemma that haunts the record. There is a partner on the receiving end of these confessions. The song and the album seem to wonder: What is the right thing to do when your desires are more complex than the narrow channel our culture allows? “The album is about being queer within a heteronormative relationship structure and within a heteronormative society, but it’s also just about desire and eroticism in general. I don’t think we give each other enough room to explore freely and figure out our own right paths,” she says. It features contributions from Sam KS (Youth Lagoon, Angel Olsen) as co-producer and drummer, Meg Duffy (Hand Habits, Perfume Genius), Waylon Rector (Dominic Fike, Charli XCX), and Greg Uhlmann (Perfume Genius, SML) on guitar, and Pat Kelly (Perfume Genius, Levi Turner) on bass.

After a meteoric couple of years touring, including her own headline runs and support for Mitski, Faye Webster, Father John Misty, and The Japanese House, Folick will join Maren Morris on tour this week for select dates and will join Peach Pit on their East Coast Fall tour. A full list of shows can be found below, and tickets are available now via miyafolick.com.

Miya Folick is also in theaters again this week with the indie animation Boys Go To Jupiter, which she stars in as Rozebud and penned/performs the feature’s title track. She has previously scored the feature film Cora Bora, directed by Hannah Utt and featuring Meg Stalter (Hacks), and has had her music featured in shows like Netflix’s Heartstopper and Apple Original’s The Buccaneers’ soundtrack.

MIYA FOLICK ON SOCIALS

WEBSITE | BANDCAMP | SPOTIFY | APPLE MUSIC

YOUTUBE | INSTAGRAM | TWITTER | FACEBOOK

 

 

MERCI, MERCY DROPS NEW SINGLE ‘INSIDE OUT’ AHEAD OF UPCOMING DEBUT ALBUM

Alt-pop singer songwriter merci, mercy today releases ‘Inside Out’, the final single ahead of her debut album Don’t Take It To Heart, out on Friday, 29th August.

Effective pop songwriting in its simplest and purest form, ‘Inside Out’ creates a strong foundation as the album opener and entry point of Don’t Take It To Heart. Offering a unique perspective of what it can be like to live with the unpredictability of depression, the song observes one’s relationship with depression and mental health with intimacy and maturity.

“’Inside Out’ just sums up who I am as a person. I’m very much someone who lives with their depression as their best friend. At the time, I was just at home all the time; I was sitting on my green couch and I felt like I was fading away into nothingness. That was really all the inspiration for the song.” – merci, mercy

merci, mercy – Inside Out (Live Performance Video)

‘Inside Out’ continues a run of emotionally incisive and deeply personal singles from merci, mercy’s debut LP, standing alongside standout tracks like ‘Hold On You’, ‘I Bet She’s Really Nice’, ‘Cigarettes In The Dark’, ‘Unrecognisable’ and ‘Angel’. These songs have enjoyed significant support from triple j; most notably, ‘Angel’ reaching the coveted position of #1 most played, and championed by outlets such as Rolling Stone and Junkee. They’ve also secured placement on major playlists including Spotify’s All New Pop (USA) and Apple Music’s A List Pop.

Together, these singles form the foundation of a compelling debut album. Don’t Take It To Heart is a fearless deep-dive into the emotional complexity of the human experience, drawn from merci, mercy’s personal journey through both romantic and platonic relationships. Created in collaboration with long-time producers Chris Collins, Milku and Robby De Sa, the album embraces the beautiful mess of growing up and learning who you are.

This bold debut follows the success of three critically acclaimed EPs, which helped merci, mercy build a devoted fanbase across Australia and beyond. Her career to date includes over 35 million global streams, 10 triple j-playlisted singles, and commercial radio support from Nova. Her breakout single ‘Into You’ received spins on BBC Radio 1 (NEXT WAVE, Mollie King) and appeared on Flux FM Germany’s Top 50 of 2022, while earning praise from Paper Magazine, Flaunt, The Line of Best Fit, Clash, and NME.

merci, mercy also announces her supports for her upcoming headline tour with Foley in Sydney on 12th September, GRXCE in Wollongong on 13th September, Matilda Pearl in Melbourne on 19th September and Jade Rich in Perth on 1st November. Tickets available here

merci, mercy – ‘Inside Out. Out now via Mushroom Music LISTEN / PURCHASE

merci, mercy – Don’t Take It To HearT Out Friday 29 August via Mushroom Music

PRE-ORDER / PRE-SAVE
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GEORGIA MULLIGAN reveals new single ‘SPLIT’ Upcoming ALBUM UNHEAVEN out SEPTEMBER 10

Sydney singer-songwriter Georgia Mulligan has unveiled the third single from her upcoming album Unheaven– the new track, ‘Split’, is a stunning example of Georgia’s songwriting talent and of what’s to follow on the new record.

A heartfelt, clever and introspective song, ‘Split’ is “part confessional and part ridiculous poem.” Through the gently captivating groove of bass and percussion, Georgia bares her heart to her audience.

Today, Georgia has also announced a special edition vinyl release for the upcoming Unheaven LP, in collaboration with Impressed Recordings. The collaboration will see 100 limited edition coloured pressings available for purchase, with pre-orders open now.

Alongside the intimate new single comes an official music video directed by Genevieve Kaiser. The video depicts a montage of charmingly domestic scenes, shot in Mulligan’s own home and featuring the singer-songwriter performing the track to camera from each setting.

WATCH THE ‘SPLIT’ MUSIC VIDEO HERE

On the process of writing the latest single, Georgia explained: “we just had fun pulling together an arrangement that became the basis for what we took to the band. Clay (drums) & Maia (guitar) took this skeleton and brought their feel to it. We broke it down and built it back up, over and over again, so the making of the recorded version became like the processes and cycles that sparked the song itself.”

Drawing influence from long-time musical inspirations such as PJ Harvey, Aldous Harding and Nick Cave, Georgia and her collaborators gave in to the flow of the whole process, stating: “we let the song take us where we needed to go.” The third track to come from Georgia’s forthcoming LP, Unheaven, ‘Split’ will be the final single release before the album’s arrival on Wednesday September 10th.

With a mass of past support from the likes of FBi Radio, 2SER, triple j, Double J and ABC Radio National, Georgia has built a strong connection and reputation amongst music lovers all across the country. She’s played support slots for Phantastic Ferniture, Nadia Reid, Angie McMahon, Caitlin Harnett & The Pony Boys, Cousin Tony’s Brand New Firebird and countless more, and was previously a member of Julia Jacklin’s touring band. Her recent singles have earned places on playlists including Spotify’s Fresh Finds Folk, Fresh Finds AU/NZ, Fresh Finds, New Music Friday AU/NZ, Open Skies and Tapestry.

GEORGIA MULLIGAN: Official Website | triple j Unearthed | Facebook | Instagram | YouTube

 

 

 

RUSSELL DICKERSON RELEASES TITLE TRACK “FAMOUS BACK HOME” – OUT NOW

Multi-platinum entertainer Russell Dickerson drops the title track from his highly anticipated fourth studio album, FAMOUS BACK HOME, arriving Aug. 22 (via Triple Tigers). Co-written with longtime collaborators Parker Welling and Casey Brown, the heartfelt song reflects on the truth that real success isn’t measured by fame or accolades, but by love, family, and life’s everyday moments. Stream the title track HERE and pre-save FAMOUS BACK HOME HERE.

“Growing up in my small Tennessee town, I dreamed, ‘I’m going to make it out of here. I’m going to make it big. Everyone will know my name,” said Dickerson. “I’ve been truly blessed to live out that dream. But as my journey continued, I realized that winning the world wasn’t the real goal — it’s being famous back home, within the four walls of my own house. This song has become so meaningful to me because it’s a reminder that the truest kind of ‘famous’ comes from the people who’ve known you all along and making those closest to me proud.”

“Famous Back Home” contrasts the big dreams of making a name in the spotlight with the deeper fulfillment Dickerson finds in life with his wife and kids — from kitchen slow dances and bedtime stories to crayon drawings on the fridge. With warm, nostalgic imagery, he paints a portrait of being a “household name” where it matters most: at home. It’s an intimate, rootsy anthem that celebrates the blessings of ordinary life, proving that some of the greatest achievements can’t be found on any stage—but rather in the moments that make you Famous Back Home.

Leading into album release, Dickerson will co-host the 18th Academy of Country Music Honors alongside Carly Pearce on Wednesday, Aug. 20, where he will also perform at what’s often called the “Country Music Industry’s Favorite Night.” Limited tickets and premium seating options for ACM Honors are available now via AXS.

Official website | Instagram | Facebook | X | TikTok | YouTube

ABOUT RUSSELL DICKERSON:
Multi-Platinum chart-topper and Triple Tigers entertainer Russell Dickerson is no stranger to the grind. The country headliner first broke through by wearing his heart on his sleeve, launching a string of five deeply romantic No. 1 hits—“Yours” (3X Platinum), “Blue Tacoma” (2X Platinum), “Love You Like I Used To” (2X Platinum), “Every Little Thing” (Platinum), and “God Gave Me a Girl.” He followed that success with the slinky, soul-infused “She Likes It” (with Jake Scott) (2X Platinum), further showcasing his genre-blending style. Often inspired by his happy home life, they powered a rise which now includes 3 Billion career streams, industry-wide accolades and a solid reputation for lyrical brilliance, rooted in feel-good reflection and paired a good-natured grin. But what fans of his singles couldn’t always see was Dickerson’s fiery, sold-out tour showmanship. That changes with his highly anticipated fourth studio album, FAMOUS BACK HOME, out Aug. 22 (via Triple Tigers). Blending the tender family man with the wild-eyed performer from his SOLD-OUT RUSSELLMANIA TOUR 2025, the project marks a new era of confidence and creative range. Leading with the dance-floor-ready single “Happen to Me,” a seize-the-moment rocker full of sonic swagger, landed on the Billboard Hot 100—and scored his biggest streaming debut week yet. FAMOUS BACK HOME delivers a bold blend of country-soul, ‘80s rock, and modern pop—pushing sonic boundaries while keeping Dickerson’s signature heart-on-sleeve sincerity. It’s his most personal and dynamic project yet. For more, visit RussellDickerson.com.

 

 

 

ABBEY LANE Takes The High Road In Single ‘Bigger Man’ AND Announces EP

Abbey Lane takes the high road and reflects on the path in her newest indie-rock ballad, ‘Bigger Man’, and gets ready for the upcoming release of her EP this September.

Known for her energy-packed anthems made up of powerful vocals, toe-tapping drum rhythms, and infectious guitar melodies, Abbey Lane’s sound evolves with every release into something nostalgic, yet uniquely hers.

Now, she’s revelling in her evolution with indie-rock single ‘Bigger Man’. This track is branded with the unreal quality Abbey Lane is known for, capturing emotional moments with its groovy drum cycles, catchy guitar hooks, and Abbey Lane’s mature, clear vocals.

‘Bigger Man’ is a patchwork of scrapped songs that Abbey Lane has written over the years, taking her favourite parts and tailoring them to fit her current flair. It is fitting, as this song focuses on reflecting on the past self. It explores the lessons learned from a past relationship where Abbey was expected to change, and how that shapes the current day.

This single release comes ahead of her EP, titled Lessons Learnt, slated for release on Thursday, September 25, building again on the themes of how a person learns and grows.

Jam out or take some time to reflect with ‘Bigger Man’, the newest single by Abbey Lane, out now, and prepare to look inward with her EP Lessons Learnt when it comes out on Thursday, September 25.

Follow Abbey Lane Spotify | Apple Music | YouTube | SoundCloud | Facebook | Instagram | TikTok

 

 

LETTERS TO LIONS reflect on their initial break-up with infectious new single ‘SPARE CHANGE’

7 years ago, Sydney 4-piece Letters to Lions, much to their fans’ disappointment, decided to call it quits.

Building a legion of fans at home and abroad with singles such as ‘Delirium Tremors’ and ‘Mushrooms’ (which now sits on a hefty 12 million streams), the band had the world at their feet. During the band’s first tour in Canada, the band were left in a frustrating position – struggling to keep themselves afloat financially on an endless, and tiring tour, and losing sight of the reason they started playing in the first place – which eventually lead to their hiatus.

Thankfully, the band reunited late last year and are thriving like never before – releasing their return EP ‘7 Years’ in March this year and backing it up with their latest single ‘Spare Change’, out in the world as of today.

‘Spare Change’ is a vibrant, impassioned sing-along that reflects on the time just before the band went on a break – stuck on the road during a never ending tour, out of money and out of hope for the band’s future. ‘Spare Change’ serves as a cathartic release for the 4-piece as they move into the new phase of their career, acting as a reminder to emerging acts to avoid band-burnout, and look after themselves first.

“As a band we are super proud to be putting Spare Change out. This song is a big one to us, we pay homage to the tale of why the split happened, it feels like the complete shedding of the past 8 years that we weren’t playing together.

We wrote this song as a bit of a funny F-YOU to the people in the music industry taking advantage of young musicians, we always wanted to write a song like that even in the old days. We used to see a lot of it happening around us back in the old days as a band and it broke our hearts to see our peers and friends going through that. This song is our call out for the new age of industry, a song for calling out the BS, a song for our peers and a song for us.” ADAM NEWLING, LETTERS TO LIONS

Music video directed by Nikola Jokanovic

WATCH 

Letters to Lions have seen huge support from their fanbase and the industry alike since their return last year. They kicked things off with three consecutive sold out shows in Sydney to celebrate their return, all selling out within 24 hours. Building on that momentum, the band announced their first national headline tour in years, selling out shows in Sydney, Brisbane and Melbourne.

Since then, they’ve performed at major Australian festivals including Spaced Out, Tone City Festival, Salty Hops Fest, Springfest, and Best Night Ever, and hit the road as main support for Rum Jungle’s national tour in February 2025. In April, Letters to Lions completed their first-ever headline tour of New Zealand and will return in December to perform at Le Currents Festival and support Lime Cordiale for a huge one-off show.

Throughout their hiatus, the bands monthly listeners sat firmly around the 80,000 mark on Spotify without any releases – which has since been increased to 300,000, with over 17 millions streams across their catalogue. They’ve seen extensive editorial support from both the local and international teams at Spotify and Apple Music, and have managed to rack up over 1 million views on Tik Tok since the release of their single ‘Nintendo’.

Looking ahead, the band will be making an appearance at both BIGSOUND and SXSW Sydney in 2025, and are currently in the midst of a national tour with The Terrys.

UPCOMING SHOWS

TICKETS

Friday August 22 The Gov Adelaide SA Supporting The Terrys

Saturday August 23 The Rechabite Perth WA Supporting The Terrys

Tuesday September 2 – 5  BIGSOUND Fortitude Valley, QLD

Friday September 5 170 Russell Melbourne VIC Supporting The Terrys

Saturday  September 13 Liberty Hall Sydney, NSW Supporting The Terrys

Friday September 19 2025  The Tivoli Brisbane, QLD Supporting The Terrys

Saturday September 20 Hamilton Station Hotel  Newcastle, NSW

Wednesday October 15 – 16  SXSW Sydney Sydney, NSW

Thursday October 30  Altar Bar Hobart, TAS Supporting The Terrys

Friday October 31 The Bridge Hotel Forth, TAS Supporting The Terrys

Friday December 26 Yonder Queenstown, NZ

Saturday December 27 Coroglen Tavern Coroglen, NZ Supporting Lime Cordiale

Sunday December 28 Le Currents Festival  Taupō, NZ

Letters to Lions: Facebook | Instagram | YouTube | Unearthed | Tik Tok

 

 

 

WEDNESDAY SHARE NEW SINGLE + VIDEO  ‘BITTER EVERDAY’
NEW ALBUM BLEEDS OUT 19TH SEPT VIA DEAD OCEANS

Wednesday share ‘Bitter Everyday‘, the blistering new single from the North Carolina band’s anticipated new album, Bleeds, due out 19th September via Dead Oceans. The song arrives with a video by Ben Turok shot in Lake Santeelah in Western North Carolina.

“‘Bitter Everyday’ is a song formed around my desperate desire to tell the story about how, in 2019, this lady came up on our porch at like 3 in the morning when Jake and our friend Andrew were out there drinking and playing guitar”, Hartzman explains. “She asked them if she could sing them a song she had written, she had an incredible voice. They recorded a voice note of it and showed it to me the next morning when I woke up. I knew which lady it was, she was a houseless person who walked around the downtown area a lot. Weeks later, I was walking home from work and I saw a photo of her on a telephone pole. It was an old mug shot of her, and she was done up in juggalo makeup. The description on the paper said she was wanted for murder. The chorus is an homage to Iris DeMent’s song ‘Easy’s Gettin’ Harder Everyday.’”

Bleeds is a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman—founder, frontwoman, and primary lyricist—credits Wednesday’s tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that’s been both rewarding and relentless. “Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential ‘Wednesday Creek Rock’ album,” Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they’ve refined the formula that makes them one of the most interesting rock bands of their generation.

With Bleeds Wednesday present an intoxicating collection of narrative-heavy Southern rock that—like many of the most arresting passages from the band’s discography—thoughtfully explores the vivid link between curiosity and confession.

The album’s previously released singles “Elderberry Wine”, “Wound Up Here (By Holdin On),” and  “Pick Up That Knife” have established the Bleeds as one of the most anticipated of the year. Collectively, they have garnered wide critical praise, including Best of 2025 mid-year lists, the coveted ‘Best New Track’ distinction by Pitchfork, adulation from The Guardian, TIME Magazine, GQ, NPR, Rolling Stone and a performance on The Late Show with Stephen Colbert.

Wednesday – ‘Bitter Everyday’ (Official Music Video)

Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who’s been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates—Xandy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake “MJ” Lenderman (guitar)—worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism—not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman’s masterfully subjective approach to detail selection.

Wednesday is going on tour in support of Bleeds this Spring across the US. The tour includes a west coast run with support from Friendship and an east coast leg with Daffo as support, before a European run in 2026 with Bleary Eyed. Tickets are available now via wednesday.band.

Wednesday – ‘Bitter Everyday’ Out now via Dead Oceans Buy/Stream here

Wednesday – Bleeds (LP) Out Friday 19th September Pre-order/Pre-save here

https://www.wednesday.band/

 

 

 

WILSN ANNOUNCES NEW ALBUM BLOOM

Melbourne/ Naarm-based soul Queen WILSN (aka Shannon Busch) today shares exciting news with her fans, with the announcement of her sophomore album Bloom to be released on Friday 17 October. The album announcement is also accompanied by the release of new song, ‘GIRL’.

A heartfelt ode to female friendship, ‘GIRL’ sees WILSN’s gorgeous, honeyed vocals shining over warm, soulful production.

“‘GIRL’ is a love letter to the kind of friendship that runs deep, the ride or die kind. It’s about checking in, showing up, listening and loving your friends through the chaos of life, even when words don’t come easy.

“The song started with a gorgeous instrumental idea by Melbourne based production house Frollen Music Library. Made up of Henry Jenkins, Darvid Thor and Hudson Whitlock all legends of the Melbourne soul and funk scene in their own right, playing in bands such as Surprise Chef and Karate Boogaloo. Together they have been working on sample creation that’s been used in songs by artists like Leon Thomas and Schoolboy Q. I was super inspired by their instrumental and love my melody and lyrics that came from it. It felt instant and super natural.” – WILSN

‘GIRL’ is one of the many standouts on WILSN’s new offering Bloom – the classic soul album she always dreamt of making. Recorded live and to tape at Hive Mind Recording in Brooklyn, NYC, alongside a dream team of musicians who have played with the likes of Mark Ronson, Sharon Jones & the Dap-Kings and modern soul superstar Jalen Ngonda, it finds WILSN channelling the spirit and sound of late-60s soul to create something both timeless and of the current moment.

“This is such a dream record for me. I’m still pinching myself that I got to record it in New York with a bunch of my favourite soul musicians,” WILSN says. “Literally every time the band played through one of my songs for the first time, I was like: this is what I came for.”

Bloom was produced by Stephen Mowat (Jessica Mauboy, Matt Corby, Gretta Ray) and Billy Aukstik – the co-owner of Hive Mind and an esteemed producer and trumpet player in his own right. The ensemble took an old-school approach to recording, with the band members all together in the same room, feeding off each other’s energy and vibe.

“This is how a WILSN record is supposed to sound,” she says. “Since I was a kid, I’ve been captivated by soul music – the emotion, the power, and the stories woven into every note - and I always strive to create music that not only reflects my own truth but also pays tribute to the stories and voices that built the foundation I’m standing on.”

WILSN’s recent releases ‘The Way’ and ‘Keep Walkin’’ have reached a whole new wave of fans on social media, amassing millions of views on TikTok and Instagram, and resonating across the globe with people of all ages and genders. Her songs have received support from triple j, double j and community radio locally, along with spins from BBC Radio 2 and 6Music, and playlist adds to Apple Music’s Soul Revival, New In Indie and Spotify’s Soul ‘n’ the City, Dinner Chill Music and more.

Now, the near arrival of Bloom sees WILSN truly blossom into the fullness of her musical powers, cementing herself as one of the most essential voices in a new generation of Australian soul singers in the process. As a key line in the album title track states, “I think I’ve had enough life lessons, I’m ready for the flower to bloom.”

MORE ABOUT WILSN…
Originally hailing from Geelong in Victoria, WILSN moved to Melbourne to study jazz at the Victorian College of the Arts. She signed a deal with US publisher Pulse, prompting a move to America, where she spent two years working with Grammy-Award winning songwriters honing her craft, before being asked to join The Teskey Brothers on their 2020 tour of Europe and the UK, playing to sold-out crowds across the continent.

Since the release of her debut album, Those Days Are Over, in 2023 – a record bursting with jaw-dropping vocal performances and fusing modern soul, pop, jazz and Motown – it’s been a big couple of years for WILSN. Her debut album won the AIR Award for Best Independent Soul/RnB Album or EP and was also nominated for the Australian Music Prize, she’s sung alongside Jimmy Barnes and Budjerah and shared the stage with contemporary heroes like Allen Stone and she’s played at Bluesfest two years in a row. Alongside her success as WILSN, she’s also been amassing praise as a songwriter, winning the 2025 Vanda and Young Global Song Competition with ‘Give You Love’, a song she co-wrote for Jessica Mauboy and Jason Derulo.

WILSN Live Dates

Friday 21 November | Rockwiz, Live At The Gardens | Melbourne, VIC

 WILSN – ‘GIRL’ Out now via Mushroom Music LISTEN / PURCHASE

WILSN – Bloom Out Friday 17 October via Mushroom Music PRE-ORDER

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THE AUDREYS BEYOND COMPARE

The Audreys are an alternative country band from Adelaide, Australia, formed in 2004 by Taasha Coates and Tristan Goodall. They have so far released four full-length albums, three of which received an ARIA Award in the Best Blues and Roots Album category, the fourth a nomination. They are stalwarts of the Australian touring scene and have played a smattering of club and festival shows in North America and Europe.

The Audreys released their first album Between Last Night & Us in 2006. The album, produced by prominent Melbourne musician Shane O’Mara, spawned two unlikely radio favourites in tracks Oh Honey and You & Steve McQueen. This, coupled with extensive touring, pushed the album to gold status in their home country.

In 2008 they released their second album When The Flood Comes to continued critical acclaim. The album debuted in the Top 20 on the Australian Charts and placed in Rolling Stone Magazine’s top 50 albums of that year. The song Small Things from the album was featured in an episode of popular US teen-soap One Tree Hill. The band continued to tour extensively both in Australia and overseas.

The duo’s third album was released in 2010. Sometimes the Stars, furthering the pair’s collaboration with producer Shane O’Mara, was their most ambitious yet. Recording for the first time without a band but with a who’s who of the Australian music industry as special guests, Taasha and Tristan reached further then ever beyond the folk and alt-country traditions of their earlier albums. An animated video for the albums title track continues to win awards and garner interest for the band all over the world.

In 2012 they repackaged all three albums in a box-set called Collected in order to celebrate each album winning an ARIA award (Australia’s Grammys) and to give them more time to work on their new record. They also began to tour for the first time as a duo around this time, and the pair quickly became renown for their graceful and impassioned performances, ramshackle impromptu cover versions and for their playful banter and disarming charm.

Their fourth studio album ’Til My Tears Roll Away was recorded in late 2013, again in collaboration with producer Shane O’Mara. Released in early 2014 in Australia to rave reviews, critical acclaim and a top 40 chart debut, the album was described by Rolling Stone Magazine in a 4-star write-up as “a record of abandon and grace.” Throughout 2014 and 2015 they toured extensively throughout Australia both as a duo and with a full band, and appeared at SXSW in Austin and Americana Music Festival in Nashville.

In 2016 The Audreys took a break while Taasha released her first solo album, Taasha Coates and Her Melancholy Sweethearts, produced by fellow singer-songwriter and multi-ARIA winner Shane Nicholson. That year she also participated in the Brumley Project for the House of Songs in Austin, Texas, completing the unfinished works of gospel songwriter Albert Brumley. She performed with the project at the Americana Music Festival in Nashville,Tennessee and attended again in 2017 as an official solo artist.

The Audreys continued to tour as a duo until Covid happened and they entered the era of the big nothing. Then in 2021 Tristan retired from touring due to ill health, and Taasha put together a new band consisting of Tom Kneebone on guitar, Felicity Freeman on bass and Beej Barker on drums. Tristan sadly passed away in 2022.

The Audreys released their first single in a decade on November 15th, 2024, Secondhand Boots. A melancholy ode to bad decisions and dusty footwear it marked the beginning of a new era for the band. Second single Beatles V Stones appeared in February 2025, and now there’s the  full album and a national tour.

The Audreys website:

http://theaudreys.com.au

Facebook: https://www.facebook.com/theaudreys

Instagram: https://www.instagram.com/theaudreysmusic

Youtube: https://www.youtube.com/theaudreysmusic

Spotify: https://www.youtube.com/@theaudreysmusic

 

 

 

JO CASELEY ‘REDWOOD LEAVES’ (SINGLE)

JO CASELEY Celebrates Mother’s 80th Birthday with Heartfelt New Single

Southern Highlands based singer-songwriter Jo Caseley has released a deeply personal new track dedicated to her mother, in collaboration with acclaimed producer Syd Green. The song, written as both a tribute and a promise, captures the timeless bond between mother and child.

Inspired by her mother’s upcoming 80th birthday, Caseley began reflecting on their shared adventures, musical memories, and the inevitable passage of time.

“I told Mum I couldn’t believe she was ‘old’ now — if she’s old, then I must be old too, and I still feel so young!” she laughs. “That conversation led to some very real thoughts about my mother’s mortality and what life would be like without her.”

The song’s roots trace back to a family trip to Northern California, where Caseley spent time with her American mother and aunts — all vibrant, free-spirited, and endlessly young at heart. Days were filled with inspiring walks beneath the native redwood trees, picking huckleberries, laughter, story telling and the joys of shared family harmonies of old songs passed down from her grandmother.

One afternoon, on the verandah of her aunt’s cabin in the woods with guitar in hand, the first lines of the song were born. It wasn’t until her mother offered simple but profound advice — “When I go, keep talking to me. I will always be there” — that the song found its completion along with the guidance of co-writer Syd Green.

“This is more than just a song,” says Caseley. “It’s a reminder that true love is eternal, even beyond the physical world.”

The single is now available on all streaming platforms, inviting listeners to reflect on their own connections, memories, and the enduring presence of love.

ABOUT JO CASELEY
Jo Caseley is an Australian singer-songwriter whose music blends heartfelt storytelling with the warm soul of Americana and alt-country.

Raised in the wide-open landscapes of rural New South Wales, Jo’s roots run deep in country life; from saddling horses to writing songs that capture the heart of the land and its people. Whether delivering a tender ballad or a country anthem, her voice carries the depth of lived experience and the glow of hope.

Influenced by artists like John Prine, Gillian Welch and Kasey Chambers and shaped by her deep connection to nature and advocacy for social issues; Jo weaves stories of love, loss, resilience, and the everyday poetry of life.

Her songwriting spans from heartfelt rural tributes like The Cattle Truck to powerful and sometimes controversial social commentary such as Sorry, which reflects on the Stolen Generations, and The Brumby’s Fate, exploring the tensions between wild horse heritage and environmental conservation.

Her latest album, High on Heartstrings, recorded live with Kasey Chambers ’band earned critical praise and was featured on ABC’s Saturday Night Country and Grass Roots programs.

From busking in Sydney’s Kings Cross to being an International Songwriting Competition finalist, Jo Caseley’s grass roots journey is a testament to the power of connection through music.

For fans of timeless songwriting, road-dusted melodies, and lyrics that cut to the core, Jo is a voice worth discovering and holding on to.

www.jocaseley.com

www.facebook.com/jocaseley/

www.instagram.com/jo_caseleymusic/

 

 

 

THE INNER WORKINGS OF JIM WHITE

Master percussionist Jim White announces one of 2025’s most unlikely debuts – himself as lyricist and vocalist! Following his first solo album — 2024’s All Hits: Memories — Jim’s deep percussive intuition continues to fuel a new musical vehicle in his life with a new album: Inner Day, out October 24 on Drag City. The title track is out today, with a new music video by Tran.

Inner Day finds Jim dancing ever more deftly with himself with a new selection of songs. Developing meditations on his personal arcana into expressive keyboard feels, he crafts parts as he would on the kit, further interacting with them on drums as well. Jim sings on two standout tracks, “Inner Day” and “I Don’t Do / Grand Central” (featuring guest vocals from Zoh Amba). The lead single “Inner Day” features the first set of lyrics Jim’s ever written.““Inner Day” is about veils and how the unconscious doesn’t follow the waking person’s clock,” Jim says. “It doesn’t follow the external so-called laws of temporality and causality. Do you?”

In just the past five years, Jim’s collaborators include Bill Callahan, Cat Power, Daniel Blumberg, Ed Kuepper and Mess Esque, alongside communal experiences in Xylouris White, Jim White and Marisa Anderson, The Double, Springtime, Beings, The Hard Quartet and Dirty Three. Coming forty years into his career, his first solo album felt like some kind of breakthrough happening. “On my first album All Hits: Memories, I wanted to have a keyboard sound to keep the drums company as together they celebrated why some things just ‘hit’ the psyche, why some memories stick,” Jim says. “Later, I found the notes wanted to move more and so on my second album Inner Day, that is what they do.” Working again with co-producer and long-time collaborator Guy Picciotto, Jim travels further into the hypnotic relationships that they captured on his first record.

 Additionally, Jim and Guy have joined with Colleen Burke to create the Jim White Trio. They will make their first performance at Bad Bonn Kilbi in Switzerland on Thursday, September 5.

Jim will then reunite with Ed Kuepper in Australia for a limited run of October shows in support of their new album After the Flood.

Ed Kuepper and Jim White October 2025

Thu 2 ADELAIDE The Gov + Alana Jagt
Fri 3 MELBOURNE Recital Cente + Mess Esque
Thu 9 BRISBANE Princess Theatre + Andrew Tuttle
Sat 11 SYDNEY City Recital Hall + SPECIAL GUESTS, Bleak Squad

All shows general onsale now feelpresents.com

JIM WHITE’S INNER DAY is out October 24 on Drag City

Drag City: https://www.dragcity.com/artists/jim-white

Bandcamp: https://jimwhitedrums.bandcamp.com/album/inner-day

Pre-order / Stream “Inner Day”: https://jimwhite.lnk.to/innerday

 

 

 

Mac DeMarco Releases new single ‘Phantom’  From New album, Guitar, out This Friday

Mac DeMarco releases “Phantom,” the final preview from his new album, Guitar, out this Friday via Mac’s Record Label. Following last month’s “absolutely mesmerizing” (The Needle Drop) single, “Holy,” and lead single, “Home,” “Phantom” is a warm, melancholic, and stripped-back number that finds Mac longing for someone, or perhaps something, he’s lost. In the song’s opening lines, he sings: “Sure, I’d give it up // Just for one more chance to say goodnight // Oh, my love, was it real or just fantasy? // Your phantom sits with me.”

Guitar was written and recorded in its entirety in November 2024 at Mac’s home in Los Angeles. Except for the mastering, which was handled by David Ives, Mac created and handled all aspects of this record on his own, including mixing the album in Canada, and shooting the artwork on tripods. Mac comments, “I think Guitar is as close to a true representation of where I’m at in my life today as I can manage to put to paper. I’m happy to share this music, and look forward to playing these songs as many places as I’m able.”

For a deeper dive into Mac and Guitar, read Amanda Petrusich’s profile for The New Yorker.

Mac kicks off many months of touring the world later this month with three sold out shows at The Greek Theatre in Los Angeles. Mac’s Record Label artists, Mock Media, Tex Crick, Daryl Johns and Vicky Farewell, will support throughout the tour.

Mac DeMarco – Phantom Single out now, Guitar out Friday 22nd August via Mac’s Record Label Listen now

Connect with Mac DeMarco https://www.facebook.com/MacDeMarco/

 

 

 

 

Benny Morrell’s “See It Through” Is a Soul-Baring Salute to Resilience

Benny Morrell returns with his most personal release to date, See It Through. The new single serves as another deeply emotional chapter in the lead-up to his debut EP All That’s Left, a collection of intimate, poetic songs that read like a memoir for a man in motion.

Built on shimmering guitar lines and restrained, tender vocals, See It Through explores the weight of grief, the ache of disconnection, and the slow, quiet resistance of choosing to keep going. Through raw imagery and lyrical honesty, the track captures a desire to return to the innocence of youth, a time before life’s sharp edges carved themselves into the psyche. The second verse becomes a poignant letter to a best friend lost too soon, while the chorus acknowledges the pain of walking forward alone, with a reluctant but defiant promise to soldier on.

“See It Through is about wishing you could go back to the innocence of youth before the grief and the harsh parts of life hit you hard. It comes from a place of going through something and feeling isolated in those experiences, to the point it makes it hard to connect with what is going on outside in the real world. The second verse is a letter to a best friend I lost, and the first verse is how it made me feel. The chorus is commenting on the fact that I don’t want to walk through the fire and meet someone to go through this hurt again. But as a toast to resistance I’ll soldier on.” says Benny Morrell

The release forms part of Benny’s upcoming EP All That’s Left, produced by Harry Charles (King Princess, Tate McRae, and dv4d),. The project is an open book, chronicling Benny’s reflections on travel, heartbreak, loss, and healing. The EP blends timeless songwriting with progressive alternative pop production, offering songs that are equal parts cathartic and cinematic.

Benny Morrell has already clocked over 70 million global streams and continues to build momentum with each release. His previous single Not Anymore received strong support across Australian Musician, Atwood Magazine, and major community radio including Southern FM, Cosmic Bogan, 4ZZZ, and Luxembourg’s RTL Today Radio. It was added to six editorial playlists including Spotify’s New Music Friday AU & NZ, Pop n’ Fresh, Peaceful Pop, and Apple Music’s Heartbreak Pop and In My Room.

Earlier this year, Better Off Alone achieved support from Triple R, SYN FM, Bay FM, and over a dozen other stations, with 14 editorial playlist placements including New Music Friday (AU/NZ, India, Suomi), Mellow Days, Heartache, Heaps Local, and Feeling Blue. The single was covered by The Point Music News, Auspop, and Australian Music Scene.

As a songwriter, Benny co-wrote Nate Smith’s Gave It All, featured on his latest album California Gold, and has collaborated with artists and producers such as Thai star WIM, Netflix’s Midnight Til’ Morning, Brazil DJ Pontifexx, Coterie, Ben Gerrans, Stan Walker, Bliss n Esso and more. His debut single went viral with a remix from Brazilian DJ KVSH, reaching over 70 million streams and 20 million YouTube views.

Benny has performed live in Nashville, London, Paris, and Melbourne, and recently supported Kita Alexander on her national tour.

CONNECT ONLINE WITH BENNY MORRELL https://www.instagram.com/bennymorrell

 

 

 

INCITE celebrate monumental year with the release of critically acclaimed new album SAVAGE NEW TIMES

Phoenix groovers/thrashers INCITE have released their critically acclaimed new album SAVAGE NEW TIMES via Reigning Phoenix Music. The new album is their most critically acclaimed to date and features 10 new tracks that showcase exactly why they are broadly viewed as rising stars in the genre.

To mark the occasion, the band have unleashed a performance video for the title track, one of the most intense and truly ‘savage’ cuts on the record.

Frontman Richie Cavalera comments: “‘Savage New Times’ is a throwback to 80s metal that inspired us. It’s meant to be a song about being strong, overcoming, and fighting through the dark days of our lives. It’s a killer track and a great way to end an album as our final battle cry!”

Watch the video: https://www.youtube.com/watch?v=oRcqyifLjEY

Order/stream SAVAGE NEW TIMES: https://incite.rpm.link/savagenewtimesPR

SAVAGE NEW TIMES – Track Listing:

01. Lies

02. Feel This Shit (I’m Fired Up)

03. Just A Rat

04. Chucked Off

05. Doubts And The Fear

06. Dolores

07. No Mercy No Forgiveness

08. Used And Abused

09. Never Die Once

10. Savage New Times

More from SAVAGE NEW TIMES

‘Just A Rat’ OFFICIAL MUSIC VIDEO: https://www.youtube.com/watch?v=RJ34yo9txzo

‘No Mercy No Forgiveness’ OFFICIAL LYRIC VIDEO: https://www.youtube.com/watch?v=kp-MxnYNx-c

‘Dolores’ OFFICIAL LYRIC VIDEO: https://www.youtube.com/watch?v=I6jqFW-gLBE

‘Lies’ OFFICIAL LYRIC VIDEO: https://www.youtube.com/watch?v=AdSy4_WjnhI

About INCITE
Founded in Phoenix, Arizona in 2004 by frontman Richie Cavalera, INCITE blend groove and thrash metal with a raw, relentless edge. With Lennon Lopez on drums and EL on bass, the band have honed its unyielding sound across multiple albums, evolving with each release. Their punishing intensity is amplified by producer Steve Evetts (THE DILLINGER ESCAPE PLAN, HATEBREED) and mixer Arthur Rizk (SOULFLY, MUNICIPAL WASTE), while striking artwork by Marcelo Vasco (SLAYER, KERRY KING) captures their ferocity. Known for their relentless touring, INCITE have conquered stages worldwide, sharing bills with DEVILDRIVER and SIX FEET UNDER, and proving their grit – like driving 500 miles through a blizzard to make a show. The addition of guitarist Layne Richardson has injected fresh energy, elevating both their live performances and songwriting. With sheer determination and raw talent, INCITE have carved out a place in modern thrash, dominating every stage with their unbreakable, unforgiving sound.

INCITE are:
Richie Cavalera | vocals
Layne Richardson | guitars
EL | bass
Lennon Lopez | drums

More on INCITE: Linktree | Facebook | Instagram | X | Spotify | Apple Music | RPM

 

 

 

THE HALO EFFECT Unveil New Cover Of KENT’S Classic ‘If You Were Here’

 As the European festival season winds down after a string of unforgettable performances, THE HALO EFFECT surprise fans with a brand-new release — a cover of the beloved 1997 hit ‘If You Were Here’ by Swedish alternative pop-rock icons Kent (originally released in Swedish as ‘Om du var här’).

Handpicked by bassist Peter Iwers, the track is a heartfelt tribute to a band that helped shape Sweden’s musical landscape. The Halo Effect’s rendition blends Mikael Stanne’s rich, emotive clean vocals with a hypnotic, pounding bass line and soaring melodic guitars, honouring the song’s essence while infusing it with the band’s signature sound.

Listen to ‘If You Were Here’ on all platforms: https://thehaloeffect.bfan.link/iywhsg

Watch the visualizer for ‘If You Were Here’: https://youtu.be/Gz3Q94CXG4c

Peter Iwers reflects: “Kent was a band that left a mark on many, weaving together pop rock and synth in a way that deeply moved me. This song remains one of my personal favourites. Out of respect for their artistry, we aimed to create our own version without straying too far from the soul of the original.”

Is there more in store…..?

THE HALO EFFECT is:
Niclas Engelin | guitar
Jesper Strömblad | guitar
Mikael Stanne | vocals
Peter Iwers | bass
Daniel Svensson | drums

THE HALO EFFECT Online https://www.facebook.com/thehaloeffectse

 

 

 

Perth’s SIOBHAN COTCHIN releases  transformative new EP, REDEMPTION ARC

WA’s Rock ‘N’ Roll cowgirl Siobhan Cotchin has today released her transformative new EP, Redemption Arc. A vulnerable journey through the jagged and heartwrenching aftermath of a breakup, the record explores what Siobhan refers to as “the fight to become better – not perfect, not fixed, but real.”

Expanding on the meaning behind the EP, Siobhan said: “Redemption Arc is my breaking point and my breakthrough. It was born in the aftermath – after a breakup that shattered me, after losing myself, after realising I couldn’t keep running from the parts of me I didn’t want to face. But the thing is, heartbreak doesn’t just reveal pain. It reveals truth. This EP came from that chaos. It’s a reckoning – with love, with regret, and with myself. I had to confront the uncomfortable stuff: how I’d hurt people I love, how far I’d strayed from who I want to be, and how much I needed to change. That process – as brutal and honest as it was – became the most healing thing I’ve ever done.”  SIOBHAN COTCHIN

Gritty, punchy, soulful, and rooted in this sentiment of truth and authenticity, the resulting body of work is a beautiful culmination of everything Siobhan Cotchin has created and achieved up to this moment. Made with Andy Lawson (Noah Dillon, Smol Fish, Mia June, Ra Ra Viper) in Perth’s Debaser Studios, the recording process for the EP was one which gave the necessary time, space and value to Siobhan’s own vulnerability and expression;

“There was no pressure to perform, no need to pretend I was okay – just room to feel everything and let it bleed into the sound. It wasn’t some quiet, reflective kind of healing. It was loud, uncomfortable, and full of emotional whiplash. Writing these songs felt like dragging everything into the light – big feelings, sharp edges, and the slow, painful process of learning how to live with all of it. But somewhere in that chaos, something started to shift.”  SIOBHAN COTCHIN

The lead single, ‘Overdrive’, is the final song on the EP, and arrives as a perfect eruption of all of this emotional chaos. Drawing on how it feels to be overwhelmed and overstimulated by your own feelings and anxieties, this track embodies “the sound of trying to scream over your own mind,” and how it really feels to have your whole being go into overdrive.

“It’s messy. It’s emotional. It’s a little untamed. But it’s mine. And I hope people see themselves in it – especially the parts they usually hide.”

SIOBHAN COTCHIN
Having spent much of the last few years touring nationally with the likes of Matchbox Twenty, Goo Goo Dolls and, more recently, Killing Heidi on their Reflector anniversary tour, Siobhan’s craft as a performer continues to elevate with each and every show. She has earned herself spots on the line-ups for festivals like Laneway, Blues & Roots, Country Sounds, Boyup Brook Country Music Festival, SXSW, and BIGSOUND, and spent some time earlier this year over in Nashville, working on cowrites with an array of spectacular fellow creatives.

Earlier this year – alongside the likes of Angie McMahon, Barkaa, Phoebe Go, Kaiit and others – Siobhan featured in Rolling Stone magazine’s FEMALES IN FOCUS feature (shot by Michelle Pitiris / @sheisaphrodite), which celebrated some of the formidable women who are helping to push Australia’s music industry to the next level.

Now, to celebrate the release of her latest record (which also arrives as her first since becoming an independent artist), Siobhan has curated a phenomenal launch show which will see her perform alongside some of the West Coast’s finest talents, spanning across a range of different scenes and genres.

REDEMPTION ARC LAUNCH SHOW with Dyan Tai (NSW), Scratching, Kayps, Skortz, Oakabellamae

TICKETS

Saturday August 23rd Mojos Bar North Fremantle

Redemption Arc is out Thursday August 21st

SIOBHAN COTCHIN: Official Website | Facebook | Tiktok | Instagram | YouTube | Triple J Unearthed

 

 

 

PARCELS – YOUGOTMEFEELING (PNAU REMIX) OUT NOW VIA BECAUSE MUSIC + NEW ALBUM LOVED OUT 12 SEPTEMBER

Parcels have been remixed by fellow Australian artists PNAU. ‘Yougotmefeeling’ (PNAU remix) is out now via Because Music.

Taking Parcels’ original vocals and instrumental and transforming them into a sun-kissed, French Touch-esque banger, PNAU’s reworking showcases the unique prowess of both artists coming together to create something fresh yet reminiscent of dancefloor classics which have come before.

Of the remix, Parcels say: “We’ve been big fans of PNAU forever, we used to blast ‘Embrace’ in the tour van when we were starting up the band. Their music always felt so euphoric and it inspired us in making our own. So nobody could have been more exciting to do this remix! Noah’s original demo of YGMF leant more in a house direction, so it felt natural to make a dance remix for this one, and was super fun to hear the song through their lens.”

The single is being performed by the band live on tour currently, and was also heard during their Glastonbury Festival set, which was described by Billboard as “one of the stage’s biggest, and grooviest, crowds of the whole weekend.”

Taken from their forthcoming third studio album LOVED – out September 12th – Parcels’ original version of ‘Yougotmefeeling’ joins previous singles ‘Safeandsound’, ‘Leaveyourlove’ and ‘Summerinlove’ in building anticipation for the highly anticipated 12-track LP.

PRE-SAVE LOVED HERE

Parcels are keyboardist Louie Swain, keyboardist/guitarist Patrick Hetherington, bassist Noah Hill, drummer Anatole “Toto” Serret, and guitarist Jules Crommelin. The band released their debut, self-titled album in 2018 and it has since gone double Platinum. The record was met with widespread critical acclaim, with NME dubbing it “cheeky, timeless, and devilishly catchy” in their 5-star review. Parcels’ second studio album Day/Night was praised by critics including Consequence who hailed the record: “a major advancement on the Parcels formula.”

Aside from studio albums, Parcels have also showcased their performance prowess on live albums Live Vol. 1 and Live Vol. 2, both of which display a different side to the band in terms of musicianship and approach to their studio material. To date they’ve amassed over one billion streams, 600k album sales worldwide, cross-continental tours, shows with French royalty Phoenix and Air and a debut single that was produced by none other than Daft Punk.

Parcels’ LOVED Australian tour dates:
Tickets here

Fri 28 Nov – Riverstage – Brisbane
Thurs 4 Dec – Sidney Myer Music Bowl – Melbourne
Sat 6 Dec – Sydney Opera House Forecourt – Sydney – SOLD OUT
Sun 7 Dec – Sydney Opera House Forecourt – Sydney

‘YOUGOTMEFEELING’ (PNAU REMIX) – OUT NOW
STREAM HERE

WATCH VISUALISER

LOVED – OUT 12 SEPTEMBER PRE-SAVE HERE

MORE INFORMATION:
WEBSITE
TIKTOK
INSTAGRAM
FACEBOOK
X

LISTEN:
SPOTIFY
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AMAZON MUSIC

 

 

 

HOUSE OF STRANGERS INTRIGUES WITH DEBUT ‘MANY FACES’

Eora/Sydney-based newcomers House of Strangers has just revealed their entrancing debut release ‘Many Faces’ – produced and mixed by Peter Holz (Peking Duk, Gang of Youths, Vance Joy).

House of Strangers is the new project from former lead guitarist of Eora/Sydney indie-pop band 90ivy/The Flowers, Liam Sinclair, longtime friend Ethan Munn, and sister Chloe. ‘Many Faces’ blends alt-pop, indie rock and electronic textures to create a rich sonic landscape.

Lyrically, the track explores the quiet fear of being truly seen – and the tension between who we are and who we pretend to be. “From family and friends to passing strangers, we shift and shape ourselves to fit the moment, often without even realising it,” explains frontman Sinclair. “‘Many Faces’ explores the quiet fear that if people saw every side of us, they might no longer relate, connect or care.”

The accompanying video – directed by Lewis Clark and Loz Maneschi, and produced by MICA Studios – uses morphing visuals and layered ‘clones’ to reflect fractured identity and inner dialogue. Sinclair adds, “The main idea of the clip was to visually represent the multiple sides of ourselves, and the different ways we present to the people around us. We used scenes where I morphed between the three clones, using a technique called ‘onion skinning’, to show how one person can have multiple personas.”

Taking inspiration from luminaires Alex G, Radiohead, and Dijon, House of Strangers blends elements of jazz, alternative and electronic music, combining concept-driven storytelling with a sound that sticks with you. As an Honours graduate of the Sydney Conservatorium of Music, Sinclair treats the studio as an instrument in its own right – a space to manipulate sound and push beyond traditional songwriting.

‘Many Faces’ is available worldwide now

FOLLOW HOUSE OF STRANGERS
FACEBOOK | INSTAGRAM | THREADS | TWITTER | TIKTOK | TRIPLE J UNEARTHED
SPOTIFY | APPLE MUSIC | AMAZON MUSIC | SOUNDCLOUD | YOUTUBE | WEBSITE
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