One of Australia’s most prolific and exciting producers Ukiyo has today released his hypnotic new single The Middle featuring Panama. This is a lowkey, pulsing bed of a track, with bubbling energy permeating throughout and is perfectly complemented by a gorgeous, glowing video that will transport the viewer on a journey to a mellow, rose-pink, levitating otherworld. The Middle is the latest single to be shared from Ukiyo’s forthcoming self-titled debut LP Ukiyo LP, set for release on November 13 – Vinyl/CD available for pre-order and pre-save the album from today.

Influenced by the ambient electronic of Tourist and the dancefloor vibes of Jon Hopkins, The Middle is a stunning, moving track, one which washes over the listener in a way that will have them pressing replay again and again.  Wistful and delicate, Panama’s gentle, raw vocal sings lyrics that speak to the compromises and sacrifices that we make to keep our relationships alive.  Mixed by Tim Watt (Golden Features, MUTO, Hermitude, Crooked Colours) and mastered by Wayne Sutherland (What So Not, Motez, Willaris K), The Middle is a beautiful addition to Ukiyo’s stunning discography.  Speaking on the inspiration behind the track, Ukiyo says, “The Middle is all about meeting in ‘the middle.’  The original demo when I sent it to Panama was called “stay” which I thought was a funny little response to my previous track “Go” with Chymes.  They both discuss similar themes of dysfunctional relationships & the fight within when you’re trying to leave them….working with Panama was a dream come true.  His ‘Always’ EP way back in 2013 with all the amazing remixes on it was one of the things that got me absolutely hooked on electronic music & learning how to make it so this song is a bit of a full circle moment.”

The video for The Middle is thoughtful and surreal, as objects levitate off the ground in a fantasy, rose-tinted world.  It’s abandoned, but peaceful.  Working once again with the production company Black Lakewho have made clips for OTR, Shallou, Martin Garrix and more, Ukiyoexplains how the video for The Middle came about, saying, “‘Ukiyo’ translates literally as ‘floating world’, so this video is a little homage to that. It also continues the themes of the Good Enough music video, comparing human relationships to our relationship with the Earth.”

With his long list of career accolades including playlist additions from Pharrell Williams and Martin Garrix, brand syncs with American Eagle, Ripcurl, Microsoft, Volkswagon, HBO and Netflix, not to mention a casual 30 million collective streams, it’s safe to say that anticipation for Ukiyo’s debut LP is at an all time high.  And fans don’t need to wait for too much longer, for Ukiyo’s self-titled debut LP is completed and set for release November 13, full track listing below. The album is a celebration of the Australian music scene, with some of the country’sbest contributing to the record and an all-star line up of features including Panama, Maribelle, Janeva, Sammi Constantine, Bajilionaireand more. “I’m absolutely in love with the Australian music scene so in the unique position I’m in as a producer, I knew I wanted my album to be a showcase of some of the incredible talent we’ve got here.” Ukiyoexplains.  Pre order vinyl/CD and pre-save the album now.  

Ukiyo is Tim Arnott.

The Middle is released today on Pack Records.

Known and respected as a pioneer in the Australian drum and bass scene, ShockOne a.k.a Karl Thomas, releases his enthralling new track ‘Follow Me’. The record is out now via ShockOne’s recently launched label Dark Machine Recordsand in conjunction with world-renowned bass music brand UKF as part of their 2020 Series – a series of exclusive singles from some of the biggest acts in bass music from around the globe. Following on from the release of his highly anticipated sophomore album, ‘A Dark Machine’, released via Warner Music and Monstercat Records in 2019, ShockOne now unveils his dark new single, ‘Follow Me’, centred around a hard-hitting bassline,  and filled with grimy undertones, all further enhanced by a computer-generated vocal that captures the realities of today’s online landscape.

ShockOne further explains the meaning behind the lyrics, “’Follow Me’ is a message from the all-seeing, and all-knowing god of algorithms that dictate all aspects of our lives today. Our new religion is here, on every screen, in every app, on every platform. Proclaim your faith today, hit the follow button now.’”

ShockOne’s decade long career was ignited by the drum and bass classic ‘Polygon’taken from the debut EP ‘ShockOne’ released on Viper records in 2009. Followed up by the critically acclaimed debut album ‘Universus’ in 2013 featuring hit singles ‘Chaos Theory’, ‘Lazerbeam’ and ‘Home’, which became a #1 ARIA album in Australia, whilst also charting across New Zealand and the UK. Off the success of the record, Karl relocated to London touring the album extensively throughout Europe and the UK. Between tours and festivals, Karl produced a string of singles and remixes for the likes of DJ Snake, Dillon Francis, NGHTMRE & What So Not to name just a few. Having worked with independent and major labels Karl is now excited to be building his own label Dark Machine Records, helping develop a roster of diverse bass music artists while continuing to work closely with Monstercatin North America.

Thrilled to be returning to the stage, ShockOne played to a sold-out stadium for WA Unlocked in July, alongside fellow Perth artists Crooked Colours, SLUMBERJACK and Tina Says. Eager to continue playing shows across Western Australia, ShockOne has announced a run of shows for September, stopping off in Broome, Wickham, Bunbury, Geraldton, Albany and Bunbury before returning to Perth for ‘A Dark Machine Warehouse’, at Centenary Warehouse – the 3,000 capacity selling out in under a week!

‘Follow Me’ is out now via Dark Machine Records and UKF. 

Having recently returned to locum work as a junior doctor, today Gordi is proud to share a beautiful pair of lyric videos for twin ballads ‘Radiator’ and ‘Look Like You’. This follows the release of her ARIA top 20 album Our Two Skins in late June via Liberation and Jagjaguwar (outside Australia). Often cited as the emotional core of her second album, the songs and the self-directed videos tenderly document Gordi’s journey from an internal, personal enquiry of love and self-identity, to the external presentation of those ideas. And the notion that isolation belies appearances.

As Victoria continues its isolation through an extended Stage 4 lockdown, the 27 year-old medico-muso returned to work as a doctor in hospitals around Melbourne and regional Victoria. Having put international tour plans on hold, Sophie Payten returned to the medical field on a “locum” basis to help out during the COVID-19 crisis. Spending the last few weeks rotating around various hospital wards in inner city Melbourne, outer Melbourne and regional Victoria, Payten has had a chance to reflect on releasing music in a pandemic – the ups and the downs.

Discussing the nature of work she has been tasked with, Sophie elaborates,

“I’ve kind of been the medical equivalent of gap filler. Victorian hospitals are having huge numbers of staff being furloughed – meaning because they’ve had exposure to COVID-19, they have to go and isolate for 2 weeks. This means huge staff shortages so I’ve been filling the gaps where I can”

“Healthcare workers are stressed and working outside of their comfort zone. One hospital I was in had had their palliative care ward turned into a ward with COVID patients on it requiring serious intervention measures. Nursing staff who work on the palliative care ward are used to end-of-life care and not to patients in such critical conditions.”

As many healthcare workers have reported, the working conditions are challenging and unpredictable. Payten has experienced first hand the level of caution adopted by medical facilities in Victoria , especially with the level of personal protection equipment needed,

“Every time we enter a ward we have to put on full PPE which is really unpleasant to wear. It’s hard to have a drink bottle with you because it can’t remain sterile so you’re constantly dehydrated…. Every morning after I park my car I put my own personal mask on and wear it to the hospital foyer, then I sign in, get my temperature checked and exchange my mask for a hospital mask, wash my hands. Then I get to the doors of the ward, I pack everything I don’t need into my backpack, get out my stethoscope and clean it with sterile wipes, wash my hands, put a single-use very hot plastic gown on, wash my hands, put safety glasses on, wash my hands, and then go into the ward. If there’s a patient we see who potentially has COVID-19 then I put on an N-95 mask, safety glasses, a face shield, a new gown and gloves (washing my hands between each new thing I pick up) – and then take it all off when I exit there room; the cycle continues!”

Embracing the ad hoc nature of the pandemic, Gordi recently announced a run of national Our Two Skins album shows set to take place next month, and continues to add new shows and cities. Set up in socially-distanced format, shows in Sydney and Brisbane instantly sold out, indicative of the appetite for live music despite generally cautious community attitudes and fans’ response to the triple j Feature Album.

The tour announcement followed the Canowindra songwriter’s debut performance at the Sydney Opera House last month. The show was broadcast globally as part of the Sydney Opera House’s digital program which has featured archival performances by Jónsi & Alex Somers, Air, and Ólafur Arnalds, as well as new live sets by Alaska Orchestra, Low Life and Bow & Arrow, streamed online to audiences around the world. Watch full performance with her five piece band from the Joan Sutherland Theatre stage HERE.

“I did always imagine that if I ever played a show at the Opera House, there would be a few more audience members. But strangely the pandemic has quickly conditioned me to be used to no real audience. Sitting at the stunning grand piano that had been tuned twice since we got there, I thought of all the artists, bands and creators that had stood on the same stage. The real life experience was as epic as it had felt in the last decade of my dreams.”

Gordi’s international album launch show at the Opera House rounded off a string of other appearances including her emotionally-charged rework of Miley Cyrus’s ‘Wrecking Ball’ for triple j Like A Version, a beautiful, sparse rendition of manic album ballad “Volcanic” for ABC’s Q&A and a high energy full band taping of album lead single ‘Unready’ for ABC’s The Sound TV show. Gordi also shared her experience in quitting her job as a doctor to go touring only to have that cancelled, yet unable to find work as a doctor – she joined current affairs program The Drum as a panelist, and discussed this with ABC News Breakfast over recent months. Last month Sophie was invited to deliver Jenny Morris’s keynote address at the National Press Club last month on music and arts reform, alongside industry peers John Watson, L-Fresh The Lion and Ngaiire.

Our Two Skins was produced alongside Bon Iver’s production team, Chris Messina and Zach Hanson, who flew from Wisconsin to Sophie’s farm in regional Australia to set up a temporary studio. The album is an exploration of identity, community and isolation, as Payten came to terms with her new identity against the backdrop of Australia’s marriage equality vote.

Gordi’s detailed reflections on her return to hospital can be viewed here.

GORDI – TOUR DATES 2020
Tickets HERE
Thursday 15 October | The Triffid, Brisbane (early sitting)
Thursday 15 October | The Triffid, Brisbane (late sitting) [SOLD OUT]
Thursday 16 October | Newcastle City Hall, Newcastle
Wednesday 21 October | The Factory, Sydney (early sitting)
Wednesday 21 October | The Factory, Sydney (late sitting)
Thursday 22 October | The Factory, Sydney (early sitting) [SOLD OUT]
Thursday 22 October | The Factory, Sydney (late sitting) [SOLD OUT]
Friday 23 October | Altar, Hobart

+ WITH BON IVER – 2021
Wednesday 24 March | RAC Arena, Perth
Monday 29 March | Rod Laver Arena, Melbourne
Saturday 27 March | AEC Arena, Adelaide
Thursday 1 April | Riverstage, Brisbane
Monday 5 April | First State Super Theatre, Sydney
Tuesday 6 April | First State Super Theatre, Sydney

Australia’s maniac sons, King Parrot, are back with a blistering new track called “Banished, Flawed the Docile”, and it’s an absolute screamer. Delivering their uncompromising brand of thrashy, punked-out grindcore chaos, this is just the first taste off their soon to be released EP entitled “Holed up in the Lair”. With King Parrot being the forever marching forward road dogs and now being three albums deep while having toured the band extensively throughout the world since the release of their debut album “Bite Your Head’ off back in 2012. It’s not surprising to find out they had a 4 Track EP they recorded in Louisiana USA, just sitting in their sock drawer waiting to be released, I mean, who else can say that right?

We’re told, the EP was recorded during some time off between tours, the intention was simple “4 days, four tracks, write em’, record em’ and be done with it”… and with this being the first taste of the results, we’re pretty keen to hear the rest. This four-day writing and recording session was guided by engineer Steve “Big Fella” Berrigan, a man who has worked on records for Down, EYEHATEGOD, Superjoint, Warbeast, Child Bite and Philip H Anselmo and The Illegals. The crew smashed it out within the super tight schedule while recording at Nodferatus Lair in Louisiana in late 2017. It definitely has that production style and feel that NOLA has become known for, while still remaining unapologetically King Parrot through and through. The songs have been sitting there unreleased since 2017, lying dormant, lurking, waiting, until now.

After recently remixing and mastering the tracks, and with the world in such turmoil, King Parrot have decided to share with us these rare and raw balls to the wall recordings. This recording not only gives us some new King Parrot tunes to blast our heads off, but it’s also grants us a glimpse of what they can do, so seemingly effortlessly at the drop of a hat. This is the result from when King Parrot gets thrown into a studio randomly with no songs written on some days off while touring,we end up with some golden nuggets. It really is a great insight into how quickly these guys can pull together some killer tunes and a great example of what a super tight band can do. This is what you get from years of touring, tons of shows and countless hours of writing together. You get a beast of a band that works so well and has the capability to create great music out of nothing. And lucky for us, especially those who get in quick, King Parrot have decided on releasing a limited edition 7″ record of only 1000 copies available worldwide. The EP will be available from all the usual streaming platforms, but you’d want to be quick to get in on one of these limited 7″ vinyl packs.

Here’s what King Parrot vocalist, Matt Young had to say about the release:

“Usually King Parrot always try to write music together in the same room, but that just hasn’t been possible for us because of the lockdown. We were planning on re-working these tracks for a new album eventually, but when all the restrictions came about, we thought “Why not get these tracks out there as a special limited edition 7″ release?”. We think King Parrot fans will be happy with these tracks, it’s rude, loud, fast and grimey and we poured our heart and soul into them; there’s no doubting its unabashedly KP!”

Kings Parrots EP “Holed Up In The Lair” drops on October 9th and will be available through all online platforms. If you want to get your hands on some vinyl then you’d better be quick, pre-sales are up now for their limited run of only 1000 7″ Vinyl pressing available worldwide.

Preorder “Holed Up In The Lair” – 7” Vinyl now – www.kingparrot.net Presave to digital streaming https://ffm.to/holedupinthelair

Youtube video link – https://www.youtube.com/watch?v=-CBMVcKH-Bc&feature=youtu.be

JACKMANN
Debut Album ‘Low Key’

Low Key is the debut album for Jackmann. Recorded over a weekend at Abbey Road Studios with producer Sam Okell (Grammy and Emmy winner for his work with PJ Harvey, Graham Coxon and The Beatles), it is a collection of songs about experience, relationships gone awry, identity and commitment.

Their intentions are honest, powerful and sincere. These are songs that could only be recorded and presented sparsely. In their stripped-back form, they show up the needless ballast that so many other songwriters see as necessary to best realise their songs.

Jackmann uses the deft drumming of John Blease, Adam Chtwood’s restrained guitar and the piano and keyboards of Paddy Milner whose musicianship serves the songs, never seeking to detract from their aim. He is not interested in mere atmosphere. He creates characters and sets them on paths that test them, transform them and sometimes destroy them. These are not idle stories.

After twenty years as Kris Schroeder, bassist and singer with The Basics, this new solo venture under the moniker Jackmann reveals his true nature. Investing in these songs the same searing humanity he also expresses through his work with the Red Cross, as a medical student, a political agitator and an advocate for the dispossessed and disenfranchised.

This empathy comes through on Low Key in unvarnished form and with a passion rare in modern music. In this way, it is reminiscent of Leonard Cohen, Nebraska-era Bruce Springsteen and the songs of Peter Schumann and Shane Howard. Jackmann joins a tradition of songs written with a clear sense of purpose and a sincere desire to connect with honest songs.

“Starting this solo project isn’t just about making ‘my’ music,” says Jackmann. “I’d never say the music of The Basics was any less ‘mine’ than this. Low Key is a statement of identity, of finally figuring out who you are and why you are and where you belong.”

Low Key asks the listener to invest and commit with songs that illuminate, enrich and, unlike so much music in 2020, stay with you.

With the release of Another Death in the Family, Clint Wilson has breathed new life into the incredibly competitive Australian country scene. His sophomore album has big shoes to fill; Dark Water, his 2018 debut, reached #2 on the iTunes Country Charts. But rather than fill his own shoes, Wilson prefers to walk in someone else’s, evidenced by his acclaimed songwriting and storytelling that’s earned him comparisons to artists like Paul Kelly and Crowded House.

Hailing from Melbourne, Wilson has an uncanny knack of instantly connecting with his audience. He’s an immensely likeable artist and that makes his emotional turns even more of a punch to the guts. And though he’s undeniably a country artist, some of his tracks flirt with indie-folk, particularly this album’s opening track ‘Sons and Daughters’. It’s one of two songs recorded in Wilson’shome studio and would be just as at home in a Brunswick bar as it would in the back room of a country pub. The other track recorded at home is ‘Couldn’t Promise You Rain #4’, which was written for the farmers suffering through drought and released earlier this year as a single. He sings, ‘I promised you love, but I couldn’t promise you rain,’ described by Tony Bates from 3DMRas “a great line in a song full of the hardships of outback living.”

The remaining tracks on Another Death in the Family were recorded at EOR Studio with Damian Cafarella and Lachlan Bryan, save for ‘High School Sweethearts’, a duet with Gretta Ziller. It was recorded at Newmarket Studios by Guus Hoevenaars and features a wonderful arrangement of strings. The songs, Wilson says, ‘come from stories I’ve either heard or experienced myself. I wrote a few of them at the DAG songwriters retreat in Nundle, which is a pretty special place for me.’

Wilson’s storytelling shines through on every track. Take ‘Down the Mine’, for example, on which Wilson sings, ‘a split second, thoughtless, that moment too late; a fit of rage, the blood on your face.’ It’s confronting, it’s emotive – it’s quintessential Clint Wilson. It’s the kind of penmanship that’s seen Wilson play at legendary events like the Tamworth Country Music Festival and support fellow musicians including Kevin Bennett and The Flood as well as Andrew Swift.

Another Death in the Family is, above all, a poignant reflection on connection, time and relationships. And in a time of such uncertainty, a time when all these things are under the microscope, it comes when it’s needed most. Wilson may have been seen as a dark horse with Dark Water, but with Another Death in the Family, he looks certain to have another success in the country scene.

You have heard their brand new banga ‘Legal Ghost’ (listen here) a few weeks back, and now it’s time to step back into the glory days of 1979 for the B Side, Talking Head’s desperately, exquisite tune ‘Heaven’ (listen here).

“Heaven is this weird chameleon-like tune which has meant one thing for about 40 years. But in light of all this pandemic shit and all the trouble and strife in the western world has done a total 180-degree flip, and now Heaven means the reverse of what it once did.  It also has a lovely melody,” Gareth explains.

Recorded at Dodgy Brothers Studio in Central Victoria, right before the world disappeared indoors, featuring guest performances from Don Don (Augie March) and H’y (Suss Cu*ts) on pedal steel and violin respectively.

A new electric blue limited edition 7inch is going to be released after the initial red pressing sold out within hours of going on sale.

Canadian artist Joe Becker, the reclusive evil architect behind TFS’s mind-bending cover art has created an exclusive design featuring Gaz, Fi, Reeko and Hammer fusion of zombie faces for a limited edition T-Shirt for all you online shoppers out there, available via Flightless. Because there is nothing more important than collectable farshun during a pandemic.

Fanatical music nerd’s ears may recognise the reverberations of Legal Ghost; it originally appeared on the Bong Odyssey album (recorded in the nineties, recently released on Bandcamp by TFS Records and on vinyl by Bang! Records), an at-home four-track recording by pot-smoking teenage morons, Gareth Liddiard and Drones OG Rui Pereira.

With the ’90s having an inevitable renaissance in 2020, it seemed opportune for TFS to rerecord it and this time, get it on the airwaves and make it famous.

Pre-order the limited-edition blue vinyl of Legal Ghost vs Heaven via Flightless Records Pre Order Now

TFS will release their third album early 2021 via Flightless Records.

PIRRA RELEASE NEW SINGLE
LIMOUSINE LIES

Limousine Lies out Friday, September 11 on BLK&WHT via Cr2 Records.

Pirra, now based in Wollongong and led by Luritja frontwoman Jess Beck, have released their latest single Limousine Lies; a cruising dancefloor filler that delivers on the introspective lyricism that the group have made their signature.

“This one was a way of working through a time where we were all feeling a bit disillusioned. We just needed to poke fun at some of those delusions of grandeur that were popping up,” said vocalist Jess.

On Limousine Lies, Pirra have teamed with ARIA award winning producer Konstantin Kersting, a hot name in Australia and abroad after his work with Tones & I, The Jungle Giants and Mallrat.

“Working on this track was so addictively polarizing. Limousine Lies perfectly satisfied that bitter sweet craving I’ve come to love when you combine dark lyrics with feel good productions,” said bassist Curtis Argent.

Limousine Lies is the band’s third release since signing with celebrated UK label Cr2 Records, through their imprint BLK&WHT, seating Pirra on a roster with massive names including Carl Cox and Gerd Janson.

The perfect follow up to the band’s euphoric 2019 track Under The Skyline and February single The Peak, Limousine Lies replicates the incredible atmosphere that saw Pirra rise above the crowd with feature spots across both triple j and commercial radio, shows with the likes of The Rubens and festivals including BIGSOUND and Australian Music Week.

“When Pirra demand you dance, you damned well dance.”
Tommy Faith – triple j Unearthed

“[Pirra] is stylish, cruisy and effortless.”
Declan Byrne – triple j