Bristol-based producer Henry Green has updated details for the release of his new album ‘Half Light’, which is now due July 3rd via Akira Records. Today Henry is sharing his new single “Tide“, which features London-based vocalist Andreya Triana, who has previously collaborated with the likes of Flying Lotus, Bonobo and Mr. Scruff.

Speaking about the new track, Henry said “I feel so fortunate to have collaborated with Andreya on ‘Tide’. As soon as the initial outline of the instrumental was formed, Andreya was the only voice I could hear. She got the train down to mine, we ate a lot of pizza and she was constantly tormented by my little puppy. Loveliest person, and an unbelievably talented vocalist and songwriter.”

Andreya added “‘Tide’ came about over two writing sessions working with Henry in his studio in the countryside. It was such an incredible experience to create and is about the discourse within relationships but the rhythms that we find together.”

Listen to “Tide (feat. Andreya Triana” here: https://orcd.co/halflight

“Call all the words out of me.” (taken from “All”). The first lyric written for Henry Green’s second studio album was a plea, scrawled in semi-desperation while wracked with acute writer’s block. Today the line has taken on a far sweeter significance, immortalising the precise moment that Green’s muse was reawakened, paving the way for his new album ‘Half Light’. 

Having left Bristol in early 2019 to settle down in a sleepy Wiltshire village, the electronic artist and producer wrote and recorded the album in his attic studio in six months. Reflecting on the experience today, the 24-year-old cites the decision to take on all production duties himself as just one of many causes of stress. “I’ve always produced my own stuff to some extent, but I took it too far the other way. And when you spend so much time on your own and have these two conflicting sides in your head, it’s just a constant battle. And then you have these sobering moments when you realise that people are actually listening to your music…”

In some respects, Green was justified in being intimidated by the weight of expectation. Following the successes of his EPs Slow (2015) and Real (2017), and his debut album Shift (2018), he’s racked up over 90 million collective streams across DSPs, and has won the respect of his peers, including former tour-mates London Grammar and Nick Mulvey, and recent remixers Cyril Hahn and Harvey Causon. And yet, their faith is ultimately repaid with ‘Half Light’, a record that finds Green harnessing that initial crisis of confidence to create music that’s both emotionally honest and breaks new ground.

“A lot of the songs are about that struggle to express,” he explains. “Coming into the record I wanted to make something that was a separation from myself, and didn’t feel like such a window into my feelings. But because of my feelings throughout the process I think these are the most honest songs I’ve ever written.”

While tonally intimate, many of the arrangements on ‘Half Light’ are more expansive than anything Green has attempted previously. “I’m always trying to counteract live instruments with something completely synthetic,” Green says of the process. “I like the idea of having something recognisable at the heart of a track, and then everything around it can be ear candy, mangled or manipulated. But at the heart of every track there needs to be something that the listener can identify with.”

Named after the Japanese idiom which describes the calm before a momentous event, “Yoyuu” blossoms out of transcendent strings and reflects the space of Green’s new, bucolic surroundings. Meanwhile, the fluttering percussion and shimmering synth textures of cinematic lead single “Realign” brings to mind the work of Christian Löffler or Bonobo, both of whom remain key influences in terms of production, alongside long-time vocal reference points RY X and Mike Milosh of Rhye.

For “Tide”, Green secured a guest turn from another one of his singing heroes, Bonobo and Flying Lotus-collaborator Andreya Triana, while “Idle” features Canadian artist Ghostly Kisses, his label mate at Akira. Alongside strings and a saxophone player, these were the only outside contributors, bar mixing engineer Tristan Hoogland.

With trademark self-deprecation, Green still very much regards ‘Half Light’ as a document of his learning process, and that’s ultimately reflected in the choice of title. “I almost wanted to hint that this album is a transitional thing,” he explains. “The half light is a lyric in the first verse I wrote for the album, and I love that idea that you’re not fully standing in the sunlight. You’re not yourself and you’re slightly in the dark in your mind, but you know that you still have something to give… So the overriding feeling that I hope people get from [Half Light] is that it’s a defiant record.”

For more info on Henry Green, visit:
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When vocalist and keys player Jessie and guitarist Josh started sharing song ideas, something was planted. A seed, dropped in some dirt, that soon became SILT. The Melbourne natives have been creating music that is a blend of melodic surf-rock, wrapped in a blend of eclectic beats and grooves, often inspired by modern hip hop, jazz and indie rock.

Releasing The Rest Is History earlier this year the band have just dropped ‘ Humidity’ a track inspired by that feeling in a relationship where you are feeling a little claustrophobic for whatever reason and you can’t seem to make the right decisions for yourself to create space.

“I think it could apply to many different types of relationships. I was inspired to write about this when I was just in a bad mood, feeling this way, I wouldn’t say it represented my life at the time but certainly how I felt then. I was listening a lot to the US band Now, Now – in particular their new album Saved which influenced the style of the song, explains Jessie

It feels more exciting than those we’ve already released, because we spent more time thinking about the production and layers. I’m really proud of this song and feel that it shows some growth in terms of my song writing, so I’m excited to see what everyone else thinks.

 Jessie began playing piano at the age of eight but didn’t start song writing until  the age of  nineteen  Hailing from a musical background Jessie was emerged at a young age with family on both sides are really musical, with many cousins, uncles, aunties and a Dad in bands. The experience of Jessie’s formative years has helped shape the sound and inspiration behind the bands musical influences.

Pre- order the single HERE

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Listen to  the singe The Rest is History HERE

he family of Australian, actor Harry Hains has released his first posthumous single “Good Enough” today, [click here to listen] following the unfortunate passing of the artist in January this year. The song, released under Harry’s artist name ANTIBOY, is the first track from the Melbourne born artist’s forthcoming concept EP ‘A Glitch in Paradise’, due out later this year.

A multi-dimensional and compelling musician, actor (most noted for American Horror Story and The OA,) artist, and acclaimed model, Harry didn’t define himself by the constructs surrounding us. On the heels of PRIDE and at a time when society is rising up to break down old systems of oppression and demanding equality for all, Harry’s inclusive perspective and forward-thinking vision, found at the intersection of our conversations on sexuality, gender, race and self-expression, endures because of its cultural relevance
Growing up in Melbourne, Australia, Harry’s uniquely imaginative mind blossomed as a child. He created horror films on his camcorder and wrote short stories and countless poems inspired by Sylvia Plath and EE Cummings. His patch eventually led him to London for modeling and then to LA to pursue his passions for acting and music. He lived, ate and breathed music, film and art creation, following heavily in the footsteps of his mother and acclaimed actress, Jane Badler.

Harry’s concept of ANTIBOY offers a portal into an age of existence where there is complete unparalleled freedom to live without preconceptions and societal labels. In a robot utopia where there is no inequality, prejudice, or toxicity, Harry (as the genderless robotic character ANTIBOY) imagines a world in which human and machine co-exist and eventually conjoin. Harry lived this through his own identity, which was gender fluid, shapeshifting and open to interpretation just like his music. The focus on artificial intelligence, of non-binary existence, and Harry’s robotic, neutral vocal delivery negates gender and labels, opening up a conversation about what the future of our species should and could be.

“ANTIBOY represents the idea that most things that we are taught to believe in are an illusion. The idea of gender, sexuality and race are social constructs. ANTIBOY is this place of true equality. The surface doesn’t really matter anymore. It’s really who we are…that’s what matters – the amalgamation of our memories and experiences. We are one human consciousness.” – Harry Hains

An amalgamation of rock, electronica and gothic pop that cannot be distilled into one type of genre or emotional palette, the songs on A Glitch In Paradise reveal that ANTIBOY is not a perfect specimen, but instead a malfunctioning robot in pain, introduced in the lyrics of “Good Enough,” a track that questions being good enough for a partner and feeling incapable of moving on – “You remind me how it hurts / Make me forget what I learned / Remind me how it hurts / Maybe it’s all too much / Maybe I’m not pure enough for you? / Maybe I’m not good enough for you / Maybe It’s too much for us … for you / You won’t tell me that you love me / Why do I try / You won’t tell me that you love me / It’s all a lie,” Harry sings gently over emo guitar chords and sparse beats.

For Harry, art should not be constrained to what it has been previously, just as human existence should be free to evolve. His songs are Trojan Horses packed with such revolutionary ideals. Although Harry isn’t here to speak for his creations, they speak for him, offering up the view he had for a limitless and more modernized world.

I/AM/ME
NOCTURNAL SUNSHINE – ‘GRAVITY’ FT RY X
(THE REMIXES)
Back in 2019, Maya Jane Coles and her alter-ego, Nocturnal Sunshine, unleashed ‘Full Circle’, Nocturnal Sunshine’s sophomore LP. Taking the alias in a new direction and diving into hip-hop influences, Maya also invited a mix of collaborators on board from Peaches and Catnapp to Three Six Mafia’s Gangsta Boo and Young M.A.. Coming together with Australian singer-songwriter, Ry X on the brooding ‘Gravity’, the single now finds new forms with three club-centred remixes from the shapeshifting French-Canadian production talent, Jacques Greene, UK drum and bass heavy-weight, Calibre and Berlin-based Cocoon affiliate, Emanuel Satie. The package stands as yet another moment in the Nocturnal Sunshine journey, following her contribution to the prestigious BBC Radio 1 Essential Mix back in March, the first time for Maya under the Nocturnal Sunshine cloak.

Grabbing the attention of Maya with his ethereal vocals, Ry X partnered with Coles to create a bubbling and deeply emotive cut in ‘Gravity’. Centred around Nocturnal Sunshine’s synonymous downtempo breakbeats and Ry X’s haunting yet mildly soulful vocals.

The swirling and visceral tone set by the original is carried forward in the rework of Jacques Greene. An artist whose career has presented a myriad of ‘moments’, his latest also came in 2019 with the arrival of his own sophomore album ‘Dawn Chorus’ on LuckyMe. Taking up the tempo with a bumping kick, Greene allows the vocals of both Ry X and Nocturnal Sunshine to take centre stage among added rave grit and flecks of his well-known ethereal sound.

Jumping into warming drum and bass sensibilities, Calibre switches up the arrangement with heart-tugging strings and keys, all met with body shifting D’n’B wizadry. Meanwhile, Berlin’s Emanuel Satie provides yet another differing take from the hypnotic techno space. An animalistic feel takes hold with the unrelenting 4×4, jagged iterances and ominous droning bass.

Tracklist:

Nocturnal Sunshine – ‘Gravity’ featuring Ry X
Nocturnal Sunshine – ‘Gravity’ featuring Ry X (Jacques Greene Remix)
Nocturnal Sunshine – ‘Gravity’ featuring Ry X (Calibre Remix)
Nocturnal Sunshine – ‘Gravity’ featuring Ry X (Emanuel Satie Remix)
Nocturnal Sunshine ‘Gravity’ ft. Ry X (The Remixes) is available now via I/AM/ME.

Prevail have just dropped the VR version of their thought-provoking video for “DOA,” which features rap dynamo Joyner Lucas.

“The video will take you inside the world we built for ‘DOA’ and give you a front row seat to the problems we are facing,” the band says. Watch it here or view the original video here.

I Prevail continue to defy the odds. The band has generated well over 200 million total streams on last year’s sophomore blockbuster Trauma. The group also received nominations for two GRAMMY Awards in 2020 — in the categories of “Best Rock Album” for Trauma and for “Best Metal Performance” for the single “Bow Down.”

I Prevail and their accomplishments were lauded by mainstream press, including Variety, NPR, and Psychology Today.

The band’s most recent single “Hurricane” landed at No. 1 on the Billboard Rock Chart. It marked the first chart-topping single of the band’s career. The acoustic version, dubbed “Hurricane (Reimagined),” is available here. I Prevail also shared “Feel Something,” a track with EDM artist Illenium. Listen and “feel something” here.

I Prevail have also managed to forge a direct and immediate connection with fans through their music. They took a mental health breakdown and turned it into a powerful body of work. Their numbers—north of 200 million streams and 100 million views and a Top 15 debut on the Billboard Top 200 — are why the band has ascended to the uppermost echelon of the rock genre.

I Prevail’s DOA featuring Joyner Lucas is out now through Fearless Records and Caroline Australia.

One of Australia’s favourite storytellers, Josh Pyke has today shared his affecting new single Don’t Let It Wait, a bittersweet song written to inspire us all to enjoy every moment. This is the fourth single to be shared from Pyke’s impending album Rome, set for release on August 28, with the track complemented by a fittingly heartwarming video.

“Don’t Let It Wait is a song that now feels entirely prescient. I hope the sentiment in the song is one that people feel as we move out of the worst of Covid-19,” explains Pyke. “Releasing music during this time has been a huge challenge, but this is what I love and how I engage with the world, and the idea of holding back on that goes against what this particular song is about. It feels especially right to release this song at a time like this as it is about grabbing a moment. Tell the person you love how you feel, dive into the ocean when you have the chance. We get so caught up in the daily grind we often leave things for later, and by the time we come back around, the moment has passed. This song is a reminder to myself as much as anyone to seize the day.”

The video for Don’t Let It Wait was worked from conception to completion by Jefferton James and Dimity Kennedy from Mountain Folks Films and features Dimity’s 91-year-old Nana dancing to the song in her living room. “It’s a celebration of life, organic and joyous and perfectly embodies the idea of seizing a moment,” explains Pyke. “Jefferton and I have been working together since 2010, and he’s done lots of clips and art for me in the past. He’s responsible for all the clips for Rome so far, as well as the album art, and the lyric book art. He’s an all round creative legend.”

Rome is Pyke’s long-awaited follow-up to Pyke’s 2015 LP But For All These Shrinking Hearts – which debuted at Number 2 in Australia – and marks his return to his solo career following a two-year break from the stage.

Never one to sit idle, Pyke offers insight into his busy schedule between his last two LP drops, explaining,“I wrote a lot, released a psychedelic rock album under the pseudonym Sword Owls. I produced songs for film and TV including a bunch of stuff with Justine Clarke and the Beached Az crew. I wrote 6 kids books, two of which have come out in 2019 and the rest are due for release in 2020/21. I continued my work running the JP Partnership grant, and my other advocacy work with the Indigenous Literacy Foundation. It was an immensely busy and rewarding creative period and it recharged my batteries and allowed me some mental perspective that has me keen and ready to fire the album and touring lifestyle back up again.”

Rome was written, recorded and produced by Pyke in his own home studio, Timshel Industries, with Pyke playing most instruments himself with some added help from friends Josh Schuberth, Elana Stone, Stephanie Zarka, Glenn Hopper and Matt Fell, who would each pop around to lay some parts down when required. “I can’t imagine making a record any other way in the future,” explains Pyke who then jumped on a plane to Portland Oregan to mix the album with Grammy-nominated producer/engineer Tucker Martine (The Decemberists, Sufjan Stevens, My Morning Jacket).

“The title Rome refers to the expression that ‘all roads lead to Rome.’ We can’t escape ourselves. We can’t avoid what stares us in the face as our personal realities, and if we don’t address these things we risk becoming ruins of ourselves.”

Collaborating with Crowbar, the new album will coincide with the release of a limited run of Rome Shiraz by Josh Pyke, put together by Tim Sproal of Minim & Boomtown wines in Castlemaine, Victoria. “I’m a firm believer in creativity as a way to enhance people’s experiences. This album feels like a red wine album. It’s a listening album, sit back with a glass of wine and fully engage.”

From his first appearance in the Hottest 100 with Middle of the Hill coming in at number 19 in 2005, to the 2017 release of his greatest hits album The Best of Josh Pyke + B Sides and Rarities and now to Rome in 2020, Josh Pyke has been a part of the Australian music landscape for over 15 years. Well-loved for his intricate storytelling, thoughtful folk pop arrangements and finely honed stage chops, Pyke has released six studio albums, all of which have gained prestigious accolades and critical acclaim.

Rome is set for release on August 28 via Wonderlick Entertainment / Sony Music Entertainment Australia

Josh Pyke will be hitting the road to celebrate Rome and will play an intimate run of fans first shows through October. “I was so looking forward to hitting the road before Covid hit and I’m truly chomping at the bit to share these songs with a live audience,” Pyke says. “I’ll be playing solo and find that expressing these songs in that context really resonates. By the time I’m able to play again, it’ll be a celebration of not only these songs but of performance in general. It’ll be a joyful return to the stage and the world in general.” Tickets to the fans first tour are available from http://www.joshpyke.com

Tickets to the fans first tour are available from http://www.joshpyke.com

One of Australia’s most loved singer songwriters, Pete Murray has today shared his driving new single Found My Place, a commanding song about offering wisdom to your kids. The contemplative track is accompanied by a video shot in isolation in Pete’s hometown of Byron Bay that fittingly features his wife and daughter, a gallant move for the habitually guarded artist. “Know who you are, just know who you are, trust that your compass won’t lead you astray. Just know that home is your heart and your heart’s where I’ve found my place,” Pete croons in that smooth, soulful and familiar voice.

Found My Place was co-written with Gavin Slate in Nashville and recorded with Canadian-born Byron local, Garrett Kato in Byron Bay. Taking sonic inspiration from artists such as JJ Cale and Frank Ocean, the introspective track exudes a warmth and charm that is buoyed by its strong and important message.

Pete explains, “Found my place is about passing on the wisdom of life to someone you love. If you trust your own instinct and stay true to yourself, then life will be fine. It was actually inspired by my own journey in life that I’m passing on to my kids now.”

Filmed and edited by fellow Byron locals, Mos & Co, the video features Pete and his young family on a local beach as the sun sets, perfectly complementing the heartfelt song with the typically private artist offering fans a glimpse into his private life. Pete explains, “This was a last minute decision to get my wife Mira and daughter Saachi in for the shoot. I’m very protective of my family and keep my family life very private. We thought of just using Mira and Saachi as background silhouette shots but when we we filmed on the day, Saachi came in to shot out of nowhere and did this cute little dance. Once we saw this we knew it had to be in the final edit. The song is about giving wisdom to your kids, so this was perfect in the end.”

The quiet achiever of Australian music is committed to constantly growing and evolving as an artist and gets a thrill from offering fans new and exciting material with each release. One of few artists with over 1 million album sales under his belt, Pete isn’t showing any signs of slowing down. With an impressive haul of robust singles and two EP’s set for release over the next 12 months, this is an artist who is in it for his fans and the music and not necessarily the accolades, jesting, “I hold the record at the ARIA’s for the most nominations never to win. 17 nominations with 0 wins. This effectively makes me the biggest loser in the history of the ARIA’s! Funnily enough it’s actually something I’m really proud.”

Found My Place is released today via Sony Music Entertainment Australia. For more info, head to www.petemurray.com

Boasting a rich musical pedigree, it’s no surprise that explosive newcomer Grace Farriss is sure to impress and set tongues wagging as she today shares her impressive debut single, All The People, a funky fireball of a track with a powerful and timely message – to celebrate the interconnection between the diverse cultures that shape the world.

In a nutshell, Grace Farriss is a poet, singer, songwriter, composer, producer, painter, artist, author and environmentalist. Born into an artistic and musical family and the daughter of rock and roll royalty, Grace grew up in the United Kingdom and Australia, her parents Shelley Farriss, a lead theatre actor and yoga teacher and Andrew Farriss, a farmer and the main composer and songwriter for INXS. Having played guitar for most of her life after being gifted a nylon string guitar from her parents for her twelth birthday, Farriss explains, “I was always encouraged to play the piano and guitar growing up, we express a lot of music and art in our family and my Dad’s amazing writing style is genius and has inspired me beyond knowledge and so greatly.”

All The People was recorded and produced by Tony Buchen (The Preachers, Montaigne, G-Flip) in LA at his Lucy’s Meat Market Studio, and Valentine Recording Studios, and mastered by Leon Zervos (Amy Shark, P!nk, Maroon 5). It is a bold and soulful introduction to this exciting artist that oozes talent and fun with this effortlessly cool, 70s-inspired funky disco powerhouse track that is driven by crisp saxophones and gallant horns, balanced perfectly with a potently catchy, dreamy chorus – exceptional musicianship on full display here from the minute that drum beat, saxophone and bass groove hits.

“All The People came about while I was thinking deeply about the larger and more worldly aspects of life,” Farriss explains. “The chord progression and rhythm of the song came first, very strongly, and then I put the melody and the lyrics over the top at the same time. I ended up singing the All The People lyrics unknowingly and the meaning became more obvious the more the song took life.”

Inspired by the world’s cultural diversity, Farriss says, “This song is an explosion of my heart and I feel in many ways at this time, the worlds heart. I have always had such a deep fascination with how all of the world’s cultures united and came to be and how we all interact with one another and interconnect through our wonderful cultural differences. What I feel other cultures teach you is that we are all one and the same, which I feel music and the arts certainly accomplish to bring this awareness to us all so intimately and so beautifully, internally and in celebration with one another.”

Currently studying her Doctorate in Naturopathic Medicine, Farriss is also an Ambassador for both the Jane Goodall Institute and SeaShepherd, and has founded her own environmental institute, The Grace Earth Organisation. “I am an active advocate for the welfare of our earth and the environment we inhabit. I support environmental causes, as this is what feels most important to me,” insights Farriss. “I grew up with and have close relationships with Aboriginal people and Elders who have so much essential knowledge that have taught me a great deal about the land and world we live in, and I feel very fortunate to be a part of the movement towards us becoming more aware and conscious of our environment.”

Farriss is set to release her debut album Grace later this year, featuring performances from some of the world’s greatest musicians – The Section Quartet, Matt Johnson (Jeff Buckley) on drums, Joey Waronker (Beck) on drums, Abe Rounds (Andrew Bird, Meshell Ndegeocello, Birds of Prey Score) on drums, Benji Lysaght (Adele, Father John Misty) on guitar, Ralph Carney (Tom Waits, Elvis Costello and the B-52’s) on saxophone, John Kirby (Solange) on keys, and Todd M. Simon (Angel City All-Star Brass Band) on horns.

And as if she’s not busy enough, Farriss is also set to publish her first book, Poetry, Sayings and Stories that is due to hit bookstores later this year. All The People is out now.

Exciting newcomer Brigitte Bardini schools us on ethereal wave with her atmospheric debut single, Aphrodite, released today. The track is accompanied by a dreamy video by Ayush Negi that was masterfully filmed through water to pull off a fittingly 90s alt indie vibe.

This introspective track is dream pop at its finest. Aphrodite will swiftly hijack your attention – its intricacies will draw you in and allow you to discover more with each listen, whilst further propelling the mystery of the artist. Dark, moody and oozing effortless cool, this song is for fans of PJ Harvey, Portishead and Bjork.

Written and produced by Bardini who plays every instrument on the release, Aphrodite was recorded at Toyland studios and engineered and co-produced by Adam Calaitzis (who also tracked some synth bass for the song). “This song is themed around temptation and its repercussions,” explains Bardini. “It is a lesson of knowing your place in someone’s life isn’t as much of a priority as you might wish, but accepting this truth rather than expelling it.”

Directed by Bardini and Ayush Negi, an aspiring filmmaker from India, the video clip was inspired by the lyrics of the song that are centred around references of ancient Greek mythology, ‘sirens’ and ‘Aphrodite’. Filmed during isolation and drawing on DIY tricks and lessons from films, Negi was able to form an innovative approach to creating the video’s psychedelic, otherworldly, underwater feel. Bardini insights, “I wanted to create a film clip that immerses the viewer into this world of a goddess being beckoned, almost taking you underwater to Aphrodite’s birthplace.”

The abstract, alt pop artist from Melbourne who is just twenty years old and has put her psychology degree on hold to pursue a career in music, says she is a little daunted to be releasing her debut single out into the world for public opinion, but is “mostly excited to see how people receive the song with fresh ears.” And she wasn’t going to let these strange Covid-19 times put her off. “Music is always around and I look to it in trying times as well as the good times so I didn’t even second guess following through with the single release and dropping the album,” Brigitte explains, “It’s something that I feel not only other people may need, but selfishly I need a purpose now more than ever.”

Aphrodite is released today, June 5.