Renowned for making tender hit songs from his hybrid of hip hop, rap and pop, and then laying it all out on stage, today Allday
announces a mammoth national Starry Night Over The Phone
album tour set for August. Joining in for all tour dates are great friend and collaborator Mallrat
, singer-songwriter E^ST
and musician-on-the-rise JXN
The national dates will follow on from his anticipated return to the Splendour in the Grass stage where he will bring a rollcall of friends to help illuminate his upcoming third album. Hugely anticipated by fans and media alike, the album name has already been tattooed
on one of his dedicated fans.
The tour announce comes alongside the release of new track ‘Lungs’.
A harder moment than the previous two tracks released ‘Wonder Drug’
sits deep in the groove, with every lyric delivered over a rolling melody displaying the relaxed delivery that Allday
is known for. It’s a song that you can hear trickling out of cars as they roll through the streets.
It’s been a busy few years for the Adelaide-raised, now LA-based artist, his debut album Startup Cult
came in at #3 on the ARIA Charts and it’s follow up Speeding
landed a #6 debut plus an Air Award nomination. He has 3 Gold ARIA certifications for his singles ‘You Always Know the DJ’ and ‘In Motion’ ft. Japanese Wallpaper, and debut EP ‘Loners Are Cool’, and has accumulated over 80 million streams to date. A collaboration with long-time friend Mallrat
on her hugely successful single ‘UFO’
has racked up over 14 million streams, and came in at #70 in the triple j Hottest 100 of 2018.
From smashing his sets on festival stages including Splendour in the Grass, Falls Festival, Groovin the Moo and This That, to selling out his massive headline tour dates around the country Allday
has cemented himself as one of Australia’s most interesting young songwriters and in demand performers.
A breath of fresh air on the scene, 18 year old Perth-based Arno Faraji is an artist at the forefront of the ever-changing landscape of Australian hip hop. The winner of triple j’s Unearthed High in 2017, and the first hip hop artist ever to do so, Faraji’s sound is inspired by artists such as Childish Gambino, J Dilla, Chance the Rapper, Kaytranada, and Goldlink. His aim is to make ‘vibe music’ - “It really all comes down to the vibe, whether it’s what I’m feeling, what I want to feel, or want to deliver.”
As praised by triple j Unearthed Music Director Dave Ruby Howe, Faraji’s “raps crackle with intelligence and electrifying attitude, but it’s the self-produced futuristic house beat that elevates the track to another level.” Since winning Unearthed High, he has been honing his live show, performing at Groovin’ the Moo, and more recently supporting Rejjie Snow & Smino, Kwame and Monte Booker on their Australian tours. Collaborating with Remi & Sensible J, Faraji's latest track "Bless (What It's Like)" premiered on triple j's Breakfast and has been making waves since, finding its way onto triple j's full rotation, and various Spotify & Apple Music playlists such as 'Best of the Week' (Apple), and New Music Friday Aus & NZ (Spotify).
BENEE is an 18 year old from Auckland arriving with her single Soaked . The song is turning into a Triple J summer staple and she also played the stations Like A Version with hotly-tipped French producer Petit Biscuit, singing his hit Problems.
BENEE’s songs mix indie-slack fun with a little r’n’b swing. And a voice to die for. She records at Morningside’s quite legendary Golden Age studio with producer Josh Fountain (MAALA, Leisure, Thomston, Theia).
Her upcoming live shows include Laneways festival – she secured the slot having played just a couple of shows in Auckland.
BENEE appeared online a few months ago with the hooks with attitude track “Tough Guy”, turning heads including Sniffers, who fell for the track’s “cliff diving guitars and synth bass” and “stripped back canyon full of melody”.
A New Zealand artist poised to really take off, check out Soaked to get hooked on BENEE now.
Bridget Hustwaite Angove Host
Bridget Hustwaite is your Good Nights gal, pressing play on the hottest releases and talking all things new music every weeknight on triple j. When she’s not burrowed deep amongst the best new tunes, Bridget is either at a gig or hanging out with her dog in her hometown of Ballarat. #3350 baby!
Catch Bridget hosting the Angove stage in both Canberra and Ballarat this November!
Choomba is a fresh new Tech-House project comprising of LUUDE and his cousin and they’re hitting the road around Australia presenting their new EP “Choomdooskins". The EP has already hit #4 on the overall Beatport charts and #2 in the Tech-House charts, big things ahead for these weapons!
If you love driving fast with the windows rolled down playing top 40 radio at full volume and you play in a band, you usually have one goal: get your songs out of your garage and into the worlds’ collective car speakers as soon as humanly possible. Lauren Mayberry, Iain Cook, and Martin Doherty certainly fit this bill. They unabashedly adore music of the wind-in-your-hair variety. And, of course, they play in a band, the Scottish synth pop group, CHVRCHES.
And yet … Since emerging in 2013 with the glistening brightness of their breakthrough single, “Recover,” CHVRCHES have always projected an insularity, a subtle but unmistakable wariness about leaning into their obvious Hit Song of the Summer-writing potential. At their core, CHVRCHES are true blue Glaswegian punks. They’ve wanted to protect themselves, and protect that undercurrent of melancholy that gives depth to their sunniness.
To this end, the band members have always kept their creative process close and tight. They’ve been diligent to the max about managing the way their band is portrayed. And, of course, they have historically produced every piece of music themselves, including their 2013 debut, The Bones of What You Believe, and 2015 follow-up, Every Open Eye. “Certainly not,” was their go-to response, Martin recalls laughing, when asked to consider collaboration. “We knew that if you get led down the wrong path it can completely derail your career.” But if there’s a theme in CHVRCHES’ world as they prepare to release their third record, Love Is Dead, it’s willful, determined openness, both ideologically - more on that in a minute – and in terms of actual creative process.
This time around, instead of Lauren disappearing for days at a time, the trio stayed in the same room even while Lauren was writing lyrics. As a result, the album “feels a lot more coherent,” she says. Lauren also consciously pulled from a different psychic well when writing those lyrics, one that's less introspective and more expansive and imagistic. “I tried to write less about romantic love specifically,” she says. “And more about the overarching concept of love.” And, for the first time ever, CHVRCHES opened their proverbial doors to outside influence. The Eurythmics’ Dave Stewart served as the band’s de facto mentor, providing insight Lauren says “really pushed us to focus on the artistic integrity of the album and everything that surrounds it.” Steve Mac co-produced the soaring ode to hope, “Miracle.” And thanks to some extremely productive time spent in what Lauren calls his “Aladdin’s Cave,” Greg Kurstin (Adele, Sia) wound up co-producing eight of the record’s twelve tracks. “We had similar musical tastes and we clicked in the writing process pretty quickly,” Kurstin recalls. “I got to pull out all of the things I don’t have a chance to normally use.”
The result is the purest ever distillation of CHVRCHES’ signature pretty gloom. “It makes more sense than anything else we’ve made because it most accurately represents us,” says Martin. “We’ve always had this super difficult side to us – artistic and introspective and angry, but then we also fully embrace commercial music,” he continues. “When we talked about this album, before we even made it, we talked about it that way, we talked about there being two sides to the band. With Love Is Dead, we’ve broadened the appeal, but there are moments that are more difficult than anything we’ve ever done.”
This conscious move towards openness in the creative process reflects a bigger, deeper existential theme as well. “We live in a time where the death of empathy is pretty evident,” Lauren explains. “You turn on the news and see story after story about how selfish and unkind people are, but also stories of strength and resilience and resistance. How do we deal with both those things?” That question, of how to honor our justifiable despair about the state of the world, while moving towards hope and love, mirrors CHVRCHES’ sonic blend of dualities. As Lauren exhorts in “ii”, the instrumental / spoken word intro to album closer “Wonderland”:
Truth exists somewhere between the dark and the light
It’s that quest for balance that runs throughout Love Is Dead.
Lead single “Get Out” is a sprawling crescendo of heartbroken joy, and the album’s opening track, “Graffiti,” with it’s lilting syncopated backbeat follows suit. “Wrote our names along the bathroom walls, graffiti-ing our hearts across the stalls,” Lauren sings. “I’ve been waiting for my whole life to grow old and now we never will.” The song captures a sense of perspective on the passage of time. “Growing up and realizing things aren’t going to be the way you thought they would be,” the singer explains. “The feeling of Stand By Me, ‘I never had any friends later on like the ones I had when I was 12. Jesus, did you?’”
Then there’s the slinky “Deliverance,” which personifies that classic CHVRCHES blend of punk ethos with a pure pop sound. “You don’t hear people singing on the radio about the hypocrisy of religion,” says Iain, “but that’s what’s exciting about it. We were thinking about Like a Prayer era Madonna, and Nick Cave, and Depeche Mode’s Songs of Faith and Devotion.”
The band doesn’t consider their music expressly political, per se, but the urgent, brightly haunted “Graves,” with lyrics like “they’re leaving bodies in stairwells and washing up on the shore/you can look away while they’re dancing on our graves/if you don’t have a heart I can offer you mine,” feels abject and despairing yet joyful in a decidedly topical way. And on, “Miracle,” Mayberry questions “I feel like but I’m falling but I’m trying to fly, where does all the good go?”
Speaking of politics, the dreamy “Heaven/Hell,” with lyrics like, “Is it right if I’m a perfect actress/Playing the princess in distress?/Is it alright if I save myself and/If I clean up my own mess?/Is it enough yet, ‘cause I’ve had enough?” gets at an issue CHVRCHES have been dealing with since their very first Twitter follower: what it’s like to be a rock band with a female frontperson. From the jump, Lauren has been outspoken about the vitriolic sexism and misogyny she was expected to tolerate merely because she’s a female human being singing on a stage. Hers is a perspective that has found much greater support in this last year, which is great, obviously. “I think it’s healthy that it’s in the mainstream,” Martin says, “of course, but she was getting fucking slaughtered five years ago, for saying stuff that’s now everywhere I look. Lauren stood up against this kind of behavior on day one.”
And she paid a price. Unlike her bandmates, who, by the time CHVRCHES formed, had already logged a lot of years in other groups, Lauren’s entrée to the rock and roll life was more trial by fire. “I was 23 when I met Iain, 24 when we started this band and I’m thirty now,” she recalls. “I’ve had to grow up in front of people.” From the very beginning, “there was a lot of trepidation on my part,” she recalls. “As a woman in any industry but especially as a woman in the entertainment industry, I knew how people talk about you. How they perceive you. Even before the first record came out I could see all these monsters in the trees already. Some of those monsters turned out to be real. Some of them did not.”
That’s a lot of what Love Is Dead is about: growing up, “coming to terms with the fact that there are great things in the world and there are awful things in the world and that you can’t get one without the other,” Lauren says. It’s that duality, again. “We’re fucked, the world is fucked,” Iain summarizes, with a smile. “But there’s an ellipses at the end. It’s Love Is Dead…. Like, how did we get to this point? And how do we move on from this point? It’s Love Is Dead, we’re fucked, what’s next?”
"Confidence Man are unarguably one of the hottest acts on the planet right now. A portable party that’s levelled dance floors and flattened festival crowds as it’s rolled out across the world, they are a machine custom designed to make you dance and lose your cool.
Without doubt set to be this summer’s most joyously exciting new band, they have to be seen to be believed – upfront there’s a statuesque chap clad only in a pair of nothing-to-the-imagination hot pants next to a woman in a custom designed baby-doll dress and shorts combo while behind them lurk two shadowy mute figures on drums and keyboards, each stripped to the waist and veiled secretively in what look like a satanic beekeeper’s hats made of a material so black, the light seems to fall into it.
If Janet Planet, Sugar Bones, Clarence McGuffie and Reggie Goodchild weren’t a band already you’d be snapping at their heels demanding they form one quick-sharp. Fact is, they are and they’ve already unleashed a barrage of heat-seeking hi-NRG disco missiles -in Boyfriend, Bubblegum, Better Sit Down Boy, Out The Window and Try Your Luck."
2019 is Dom Dolla’s break-out year, named as one of this years ‘rising stars’ by Pete Tong and featured on Billboard Dance as ‘one to watch’ following the release of his beatport #1 single ‘Take it’ - a hypnotic dance floor anthem, amassing 22 million streams with support from house music elite Chris Lake, Sonny Fodera & Duke Dumont.
Descending from Melbourne, Dom’s soulful hooks and Jackin-house drums have seen him sell out a spate of headline Australian shows, tour the U.S with notable performances at The Dolab Coachella, Miami Music Week and Electric Daisy Carnival – Whilst prepares for his European debut at Tomorrowland, Hideout Croatia, Ibiza, U.K & Netherlands.
Following remixes for Rufus, Pnau, Hayden James, Flight facilities, Purple Disco Machine, and Monkey Safari. ARIA nomination for ‘best dance release’ of Dom’s collaborative single ‘Be Randy’ and successive ARIA #1 singles Define/You - it’s all making cents.
It’s been a dynamite few years for the Dunies. After blowing the lid off the Laneway Festival 2017, their scorching second album ‘The Kids Will Know It’s Bullshit’ (produced by FIDLAR’s Zac Carper) took them higher than ever before, scoring the No.1 spot on the ARIA Album charts. Boasting a raw, raucous energy and party punk anthems like ‘Scott Green’ and ‘Bullshit’, (33 & 34 Triple J Hottest 100) the Brisbane three-piece belted out a 40+ stop tour of North America & Europe, before returning the steal the show at Splendour In The Grass 2017 and run riot on their recent sold-out theatre tour around the country. Dune Rats brought 2017 home with two ARIA Award nominations and some of the biggest crowds they have ever played to on the Falls Festival tour.
2018 kicked off very nicely with singles ‘6 Pack’ and ‘Braindead’ landing at number 55 and 75 respectively on Triple J’s Hottest 100, and huge performances at Sydney City Limits, The Drop Festival Tour, Big Pineapple, Bass In The Grass and a huge Splendour headline slot with ‘Dunies & Friends’.
With a tonne of touring under the belt and album number three calling, Dunies disappeared in the studio for the first half of 2019 and resurfaced very recently to kick in with their new single ‘No Plans’. Of the track the band says, "No Plans was the first song we’d written after coming off a long stretch of touring and summed how we felt at the time. It’s about throwing three shits to the wind and seeing what sticks."
No Plans will roll out Dune 7 worldwide with a string of international tour dates.
Live the Dune Rats way - ‘NO KOOKS, NO GUTTIES!!’
Melbourne singer, producer and multi-instrumentalist G Flip, born Georgia Flipo, fell in love with the drums as a kid and travelled the US as a touring drummer in her early 20s. Never one to sit still, Georgia then locked herself in her bedroom studio for all of 2017 and taught herself how to write and produce her own songs.
While incubating her new project, Georgia created a round LCD screen for the front of her hand-made kick drum which can display any imagery, video or content that Georgia can dream up. This is Je Ro Mo, G Flip’s animated “talking drum kit” – named for Jenny Rose Morrish, her late drum teacher.
Her self-produced debut single ‘About You’ is an addictive, bittersweet shard of shimmering pop, inspired by her “hectic, toxic, cinematic” on-off relationship. It builds from a dreamy murmur into a cathartic tumble of layered synths and syllables, with her clean, spacious drumming taking front and centre. It was the very first track Georgia pieced together, recorded in a day in her bedroom studio into “a shitty mic from Cash Converters”.
G Flip is the real thing: unfiltered, driven and bursting out of her bedroom with ideas to burn.
Turning heads quickly, Godlands is the product of old school sounds meeting new school methods. A forerunner of the freshest wave of Australian electronic music, this young upstart has the enviable ability to transform beats into heaving club anthems, with a festival-ready steeze that’ll test even the best systems.
Existing at the junction of music and fashion, Godlands is your girl’s crush, whose constant ambition to push the needle sees her effortlessly apply a cavalier vogue to her production, performance and aesthetic.
Less than a year into the Godlands project, the producer has torn up the scene and carved a name for herself in the ever-changing electronic landscape. Having launched her debut tour ‘Pleasures’ for 2018, Godlands has performed alongside the likes of Jauz, Getter, Habstrakt, Excision and QUIX – not to mention previous runs with ShockOne and Baauer. Her reputation on the decks preceding her, she has already touched down at Groovin’ The Moo, Party in the Paddock and Touch Bass this year, unveiling a jaw-dropping new visual show to fans throughout Australia, New Zealand and Japan.
A veteran of clubs and festival stages alike, her unique sound design and dexterous sets are as unmissable as they are unpredictable.
Get used to this future legend, because the Godlands era has only just begun.
Golden Features is bringing his infamous live set to the Spilt Milk stage in 2019. Strap yourself in as Golden Features takes you on a journey through his critically acclaimed album SECT and more.
Sydney dance music producer Tom Stell chose the artist name Golden Features in 2014, around the same time he started to DJ and play live sets wearing a gilded mask. For Stell, anonymity was a means of deflecting attention from himself and having his art appreciated for art’s sake, values that were instilled in him as a teenage graffiti artist. Ironically, the mask has only attracted more interest in the mystery man behind it. Still, there’s no doubt that Stell’s music has spoken for itself – and loudly, too.
Born in the 90s; raised on the 70s; currently storming 2019. Groove City does what it says on the tin, with deep, sexual bass lines set to a permanent strut.
Enter Groove City’s world of retro schmooz, lifted from the dirty depths of boogie wonderland.
This is a live show you don't want to miss.
IF you're an Illy fan who's been impatiently waiting for his new material, you are not alone.
"I've been getting really antsy," Illy admits. "This is the longest time I've been away. I was going nuts for a while..."
The silence ends with Then What, the instantly addictive first taste of Illy's sixth studio album. ‘Then What’ was created with Swedish duo LIAS and Priest and Illy’s longterm collaborator M-Phazes
"I had the idea for the chorus and the claps and I knew their pop sensibilities are on that Swedish level and they'd just get it," Illy says.
"It came together in an hour and a half. M-Phazes added his parts later in Melbourne, those drums are undeniable. It's been a team effort."
Then What's hook-upon-hook-upon-hook pop thrills make it the perfect comeback.
There's no featured guest and no time to waste before you hear bass, tin drum and even a Shania Twain shout out.
"After (previous album) Two Degrees I've learned to trust myself and my taste and my ability more, particularly with songs that are barely even hip hop songs. I've become more comfortable with that."
Illy's career had been steadily building before Two Degrees in 2016, with a prolific run of albums and 2014's Top 20 double platinum single Tightrope.
Things went stratospheric when single Papercuts (featuring vocals from Vera Blue) soared to No.2 on the ARIA charts, going 5 x platinum in 2015.
Now a staple on mainstream radio, Two Degrees entered the ARIA albums chart at No.1.
The follow up, Catch 22 (featuring UK singer Anne-Marie) was another hit, with the rapper more in- demand than ever on the touring circuit, playing theatres and festivals around the country.
The Two Degrees Tour won an ARIA as Best Live Act in 2017, while Papercuts and Catch 22 saw Illy win back to back APRA awards as Best Urban Act in 2017 and 2018 respectively, voted by his industry peers.
As well as writing the infectious melody, Illy penned Then What’s lyrics, which reflect on life after the success of Two Degrees.
"The last album was the biggest thing in my career. You're put into more situations, you're meeting more people, it's all part of it, it's not a bad thing, but it's funny sometimes to stop and zoom out and realise what's going on. You know if you weren't in this position we wouldn't be having this conversation. I just wanted to write a funny song addressing the weirdness of it all. I've had friends who've had similar things happen on larger scales than me. It's just something that you notice - those cliches about people coming up to you when the times are good is true, it's not made up."
Illy’s time away from music has been strategic – he knew it how crucial the follow up to Two Degrees was to his career.
He tested the waters with a guest slot on this year's Hilltop Hoods single Exit Sign ("that song plays to both our strengths") and feels Then What is the next logical step.
"It takes the influence from Exit Sign and runs in a good direction. It brings people back to 'Hey I'm still an artist, still making music, here you go’.
The rapper is in the process of culling the large number of songs written for his new album. "I don't think I'll ever go away again like this for the rest of my career. To be at this point and be making what I think is the best, most artistic music of my career is very fortunate. I've worked hard for it, but I'm aware I’m in a pretty rare spot. I don't intend on fucking it up."
One of the most commanding artists to emerge from the SoundCloud underground, Juice WRLD makes introspective hip-hop that’s emotionally raw but powerfully melodic.
In 2018, the 20-year-old Chicago native earned such accolades as being named Apple Music’s Breakthrough Artist of the Year and Spotify’s Biggest Breakout Artist of 2018, partly due to the smash success of his four-times-platinum single “Lucid Dreams”: a genre-warping track that’s spent over 38 weeks on the Billboard Hot 100 (peaking at #2), in addition to hitting #1 on YouTube’s U.S. Top Songs Chart, #1 on Spotify’s Global Chart, and #2 on Billboard’s Streaming Songs Chart.
Amassing more than a billion combined video and audio streams last year, “Lucid Dreams” appears on Juice WRLD’s first full-length project, the platinum-selling Goodbye & Good Riddance (released via Grade A Productions/Interscope Records in May 2018).
Along with reaching #4 on the Billboard 200, Goodbye & Good Riddance has drawn widespread critical praise—the New York Times, for instance, hailed the project as “one of the year’s most effective hip-hop releases,” describing “Lucid Dreams” as “lush loner music” with a “deeply keen sense of pop efficiency.”
Within weeks of premiering the video for his acclaimed single “All Girls Are The Same”—featured as a “Best New Track” on Pitchfork in March 2018—Juice WRLD scored a deal with Interscope Records. By the end of the year, he’d racked up more than a billion streams on Spotify alone, with his songs earning 69 million hours of play for over 52 million fans in 65 countries.
At the start of 2019, Juice WRLD continued his dominance and landed six songs on the Billboard Hot 100 for the week of January 19, far surpassing any other artist on the chart. On March 8, Juice WRLD released his second studio album Death Race For Love, on Grade A Productions/ Interscope Records. The album debuted at #1 on the Billboard 200 chart and maintained that position for two weeks. Death Race For Love includes the single “Hear Me Calling,” which hit 6.7 million global streams within the first 3 days of its release. Having recently completed a sold-out headlining tour of North America (and toured Europe and Australia as well), Juice WRLD’s plans for 2019 include making his debut performance at this year’s Coachella.
Following the monumental success of his debut album American Teen (certified Gold in Australia), and being crowned the #1 artist on Spotify in the world, Khalid is gearing up to break new records with his sophomore effort, Free Spirit. In February, he gave fans a taste of what was to come by dropping lead single ‘Talk’, co-written with Disclosure, including their own remix of the song ‘Talk’ Disclosure VIP, adding to a stable of hits that’s truly staggering for an artist so young. Free Spirit also includes new tracks ‘Self’ and ‘My Bad’. The album features special guest John Mayer on the track ‘Outta My Head’.
From 7x Platinum ‘Young Dumb & Broke’ and 3x Platinum ‘Better’, to the stack of collabs with some of the world’s biggest artists, such as Normani on ‘Love Lies’ (5x Platinum), 6LACK and Ty Dolla $ign on ‘OTW’ (2x Platinum), Martin Garrix on ‘Ocean’ (2x Platinum), benny blanco and Halsey on ‘Eastside’, Shawn Mendes on ‘Youth’, Calvin Harris and Future on ‘Rollin’, Logic and Alessia Cara on ‘1-800-273-8255’, and close friend Billie Eilish on ‘lovely’, Khalid has truly become one of the most notable names in pop today.
The release of Free Spirit is accompanied by a companion short film directed by Emil Nava, which screened in cinemas for a limited 24 hour period and also allowed fans an exclusive chance to hear the record in full before its release. The film is creatively parallel to the album, adding visual elements to the music to tell stories of the beauty and the pain of Khalid’s childhood. Check out the film’s trailer here.
The last two years have seen Khalid take the industry by storm, quickly becoming a household name with his multiple chart-topping singles, internationally-acclaimed award nominations and wins, TV appearances, and brand campaigns. In 2017 Khalid won the MTV Video Music Award for Best New Artist, previously awarded to the likes of Justin Bieber, Fifth Harmony, Fetty Wap and more, and featured as the face of Forever 21’s Summer Digital Campaign, #F21xMusic, and Men’s Line. He went on to perform on The Tonight Show Starring Jimmy Fallon, The Ellen Degeneres Show, and Good Morning America to name a few, as well as at SXSW 2017, where he won MTV’s Woodie to Watch Award.
Since then, Khalid’s success has continued to skyrocket, with major co-signs from the likes of Elton John and Kendrick Lamar. He has made his mark through a plethora of international chart-topping singles, so it’s no surprise that in 2018, Khalid was nominated for a whopping five Grammy Awards, including Best New Artist, and also took out 4th place in the BBC Sound of 2018 poll.
Khalid is one of the defining artists of his generation, you don't want to miss his performance at Spilt Milk 2019.
Kota Banks has been hailed as one of Australia's best new pop acts.
Signing with NLV Records in May last year, Banks has been working closely with Swick for her forthcoming PRIZE mixtape, as well as her recent singles "Holiday" and "Zoom". "Zoom" and “Holiday” received widespread support from radio across the country, Junkee, Acclaim, Pilerats and more, amassing over a million streams and being lauded as “one of the best pop songs of the year”.
Don't miss Kota Banks at Spilt Milk 2019!
Lastlings is the artistic output of sibling duo Amy Dowdle (19) & Josh Dowdle (24). Self taught musically, the Japanese-Australian pair has devoted the better part of five years to their craft, fine tuning their songwriting and production from their home in the hinterlands of Southern Queensland. Releasing two EPs to early acclaim, the duo found themselves having to make a choice between full-time musical pursuit and allowing Amy, then sixteen, to focus on finishing high school. They resisted the pull of the industry, Amy finished her schooling and in 2018 Lastlings returned with new music and the world at their feet. Now signed to RÜFÜS DU SOL's newly founded label Rose Avenue, they work towards their debut album due in late 2019, while continuing to develop their live show that has already seen them tour Australia and North America with RÜFÜS, and step onto Coachella's DoLaB stage and this years Splendour In The Grass Mix-Up
They say there’s an innate bond between siblings, a relationship is forged that can last a lifetime. Now, take that intuitive understanding and translate it into music; magic can happen. Such is the case for brothers Louis and Oli Leimbach, better known as Lime Cordiale. Today, they are just months from releasing their long-awaited debut album, “Permanent Vacation”. But their relationship, connection through music and planet earth, stretches much farther back.
Growing up within a creative, musical family on Sydney’s Northern Beaches, it was natural for the pair to make music together. “Not everyone is born from the genitals of parents that want you to have a life in the arts” says Oli.
Lime Cordiale have played in the US at SXSW and CMJ, plus countless sold out shows and tours across Australia, supporting the likes of Sticky Fingers, Ball Park Music, The Rubens and most recently Bootleg Rascal. Though they haven’t forgot how it all began, Oli tells “many of our shows just feel like parties with our mates” and that theme has been ever-present as the band has developed over the years. Keeping the grass roots vibes strong, the band keep a strong dialogue with their audience on social media, “we seek advice, a bed, a hang out… all sorts of things” Oli continued.
The boys note that most Australian’s (including themselves) aren’t afraid to say what they feel, and touching on their time in the States, they recalled a moment where they were kicked off the US University Circuit, Oli reflects “we got in trouble for singing ‘Bullshit Aside’ - I don’t know what the big deal is. Especially when Christian radio stations breathe bullshit full-time”.
Lime Cordiale express their feelings that people need to break the rules in order to progress, with Oli stating “you don't have to take the conservative route. You don't need to necessarily plan out your life in your twenties or thirties” and with the band living in a dilapidated house in Sydney’s Inner-West, they’re focussed on their love of music and keeping Sydney’s music scene alive with the support of their surrounding communities and the Australian community as a whole.
It’s no surprise that the pair are passionate, and overly sensitive to the effect humans have on Australia’s environment after being raised on an island home and in coastal areas while growing up. The band’s vegetarian lifestyle and plastic free rider may not be to everyone’s tastes, but their response is simply - “fuck ‘em”.
Themes of conservation and sustainability are ever-present in Lime Cordiale’s music, and “Permanent Vacation” explores these issues. It’s quite a social album overall, and in addition to this, there are songs of personal anxieties and hard hitting relationships over the past few years and the usually introverted Louis best expresses himself through song to explain these experiences, ‘I only love you when you’re leaving’ a lyric from their single “Temper Temper” might best describe their love experiences of late.
It’s not all doom and gloom with the Sydney based siblings, as they still manage to have a laugh at society and themselves, Louis explains “When we're writing together, we end up almost taking the piss. That's what we do together every day and so it ends up coming out in our songs” and you can hear it throughout the album on "Naturally", "What Is Growing Up", "Risky Love" and "Up In the Air”.
Keeping things positive, the band admit the lovely ladies of Sydney grab their attention, but being on the road and constantly driving between cities on tour, the band have discovered the beauty of the great Australian landscape. Oli explains “It feels as though Australian’s are often looking overseas for inspiration but we really don’t have to look too far”. The pair recently returned from a drought relief event in Far North Queensland, with Oli noting “it was so isolated, so dry and so prehistoric. But just incredibly breathtaking”.
Being blessed with beautiful surroundings and fellow Northern Beaches bands the likes of Ocean Alley, Winston Surfshirt and The Ruminaters, the band are not short of influences. Initially being drawn in by strong melodies and really strong grooves, both Oli and Louis enjoy delving a little deeper into “what’s behind a song and an artist, that really lets you explore the full experience”. Artist’s the likes of Rodriguez and Charles Bradley resonate with the Sydney-siders as “they’ve been struggling their whole life but never gave up on music” and though Lime Cordiale are not struggling in the same ways, the message holds true.
In addition to the hectic schedule and life-band balance, Louis is an avid artist holding regular showcases, but notes that whether he is cutting lino or painting, this side of his life is kept secluded, “Lino cutting is a very time consuming art form, requires a lot of attention and I find myself doing it alone” says Louis. His art form though does cross over to band-life, with Louis designing all album art, posters and merchandise and states that the creative process can take time to think up ideas and sometimes his work can get so out of control he has to go into hiding, but he calls it “meditative and an escape” and likes the process itself over the end result.
When they aren’t busy playing shows, cutting footage for films or designing some form of artwork, Oli and Louis return to their roots, the ocean. Though they love being close to the CBD, sometimes the inner-city pressure means they need to get back to the freedom that the ocean can give, Oli tells “you can be working in the dirt and grind of the city just behind you, but out there on the waves the world is yours”.
Lime Cordiale plan to tour throughout the rest of the year, hoping to play all around Australia, and ultimately getting back out overseas – and the world is theirs.
Mansionair have accumulated millions of Spotify streams and widespread praise for the mesmerizing and genre-defying track from tastemakers including NME, The Guardian, Stereogum, BBC Radio 1 and Pigeons and Planes. Mansionair has sold out headline shows, and shared stages with the likes of Florence and the Machine, Alt-J, and The Temper Trap.
Here’s how it often goes with Middle Kids.
A song will come to Hannah Joy, usually by surprise, sometimes in the dead of night, almost always in private. With the house to herself, the singer-guitarist-songwriter will tinker with it, sketching her verses and loosely framing how they could fit within the music.
Then, when she’s gone for the day, bassist Tim Fitz will see what she has done and add his own shape-shifting elements and figure out if they jibe with Joy’s ideas.
By the time Harry Day is ready to polish his parts on drums, there’s still room for him to put his stamp on the work.
“Even though Tim and I live together, and we’re married, the work flows usually more when the other person is gone,” Joy says. “Yeah, it’s not like we’re in the room together and say, ‘Hey, play that minor chord again, babe,’” Fitz says with a laugh. “We’re more like, ‘Get out! I’ve got some work to do.’”
One listen to Lost Friends, Middle Kids critically acclaimed debut record and it’s clear that the rising Australian trio is aligned with each member’s own vision. Its 12 songs veer from brittle blasts of indie rock to elegiac piano ballads to pop anthems destined to ignite stadium singalongs.
Lost Friends saw the band pick up the highly converted triple j ‘J Award’ for Album Of The Year in 2018, alongside a nomination for Best Rock Album at the ARIAs. The album includes the band’s debut single and biggest hit to date, ‘Edge Of Town’, which has amassed over 20 million streams on Spotify. Single ‘Mistake’, with its infectious chorus that could have been lifted straight out of a long-lost Fleetwood Mac album, landed in Triple J’s 2019 Hottest 100 at number 64. The album was launched with a sold-out headline performance at the Sydney Opera House, a rare feat for any band.
Whilst Sydney, Australia is called home, Middle Kids has spent a large part of their time as a band touring internationally with great success. The band have appeared on many U.S. late night television shows including Jimmy Kimmel Live and The Late Late Show with James Corden. They have toured internationally with the likes of Cold War Kids, Bloc Party and appeared at festivals such as The Governors Ball, Lollapalozza, Osheaga Festival and many more.
Surprising many, the band showed no signs of slowing down with the recent release of two brand new singles, ‘Salt Eyes’ and ‘Real Thing’, and the announcement of a new EP due May 2019. Both singles have been widely supported by key radio stations across the globe and are yet another display of their knack for haunting hooks and lyrical poignancy that ooze irresistible indie rock appeal.
Hailing from Sydney’s Northern Beaches, six-piece Ocean Alley have solidified their position as one of Australia’s most exciting bands both at home and abroad. With two albums under their belt, Lost Tropics (2016) and the critically acclaimed Chiaroscuro (2018) which peaked at #11 on the ARIA Chart and spawned the triple j Hottest 100 #1 and ARIA Top 10 Platinum- certified single ‘Confidence’, the band have captivated audiences worldwide with their infectious blend of psychedelic surf-rock, selling out slews of shows wherever they play. They’ve also gone on to amass over 60 million catalogue streams, as well as attaining more than 1.4 million monthly Spotify listeners.
Psychedelic Porn Crumpets
Psychedelic Porn Crumpets are taking 2019 by the horns! Announcing a new single in ‘Bill’s Mandolin’, a new album in ‘And Now For The Whatchamacallit’, their largest national Australian tour to date as well as a highly anticipated appearance at SPLENDOUR IN THE GRASS, new UK/European tour dates, international festival dates, a worldwide signing to Marathon Records and Australian signing with Caroline Australia, the Perth rockers have laid down the gauntlet for another busy, fruitful year.
The band’s new single, ‘Bill’s Mandolin’ comes at a perfect time for Psychedelic Porn Crumpets. The band, having enjoyed sold out tours through the UK and Australia, have solidified themselves as more than just the Australian buzz export. Eight sold out shows through the UK, plus an impressive debut tour of the US encompassing fourteen shows and a splash at SXSW have turned Psychedelic Porn Crumpets into a strong formidable force on the international stage. Rotation and airplay support for recent releases by Triple J and BBC Radio 1 have bolstered the band’s approach and has extended their reach. The band has carved out a space all their own, and their new single reflects the strength and dynamism continuing to flourish within their ranks.
Melbourne outfit RAT!hammock have become one of Triple J Uneathed's most loved bands. Somewhere between the lo-fi bedroom pop of Alex G and the classic 90s sound of Pavement lie Melbourne four-piece RAT!hammock, Unassuming but delightfully weird, RAT!hammock mine much- traversed indie rock terrain, but prove that there are still many diamonds to be found in the rough.
There are few tales more compelling than the rise of the enigmatic producer, artist and songwriter Running Touch. The elusive and multi-faceted creative has spent the best of the past few years fast cementing himself as not just an incredible musician and performer but forward-thinking visionary in every sense of the word. Through his music, live-show and identity (or lack of thereof) Running Touch has curated a multi-dimensional brand that gives a focus to storytelling through art, performance and music and sits in a realm that is matched by few.
Born and raised in Melbourne, Running Touch’s music career starting at the age of 13 in what is to now to be known as Post-Hardcore outfit Ocean Grove, in which Running Touch remains the core-studio member to this day. Ocean Grove have since gone on to tour the world a number of times over, joining ranks with the likes of Limp Biscuit, Crossfaith, Northlane, Amity Affliction and more. With his Hardcore days still far from over, Running Touch took a liking to electronic music, starting a promising new project in 2015 and taking the leap from the world he knew, plunging to the unfamiliar depths of the Electronic scene to start the Running Touch journey.
Since beginning this project, his career has moved in leaps and bounds, starting with a slew of awards in his debut year, being named the artist to watch for 2016 by inthemix, one of the most played artists on Triple J Unearthed, dubbed as ‘The Best Kept Secret in Australian Dance Music’ by Buzzfeed and had his breakout track ‘What’s Best For You’ listed as one of the Top Tracks of 2015 [inthemix]. In 2017, Running Touch released his debut EP ‘A Body Slow’, which immediately hit #1 on iTunes Electronic album charts and #9 overall.
Fast forward a short time later and his steady rise to a global takeover is fast and apparent. Solidifying his talents as a producer, Running Touch has written with the likes of Sarah Aarons (The Middle, Zedd), Hayden James, GG Magree, Tensnake, and many more, as well as playing on almost every mainstage in Australia, touring nationally with the likes of ZHU, ODESZA, SAFIA and PNAU, touring across Europe and USA and selling out every headline tour to date. His live show stands as one of the most energetic and compelling performances in the electronic circuit - with dark and brooding twists that you could expect at none other than a hardcore show, imitating a full-scale production rather than just a one-man band alone.
In 2018, Running Touch’s first release of the year ‘My Hands’ has seen him garnering attention from every corner of the globe, hitting the #1 most played track on Triple J for seven weeks running, putting him to the 4th most played artist on the station. My Hands, was also added to a number of major playlists around the world including Apple Music’s A-list Electronic in 37 countries and twelve of Spotify’s largest editorial lists.
The music video, directed, curated, filmed and edited by Running Touch himself, has since been added across the board to MTV, MTV Dance, Youtube’s ‘Electronic Hotlist’ (USA), and leaves no questions as to why the track was voted the ‘Sexiest Song of 2018’ by Triple J Listeners. The recent success of My Hands has since seen Running Touch pen a deal with ODESZA’s label Foreign Family Collective (USA) as well as sign with UTA for bookings across the USA and Europe.
His follow up release, a collaboration with Hayden James, ‘Better Together’ saw him reach his first USA #1 on iTunes and was fast added across the board & on high rotation to every commercial station in the country, streaming at a rate of over 1 million a week and fast becoming the anthem of the summer in Australia, proving a crowd favourite at every show played and a hot contender for Triple J’s Hottest 100.
As Running Touch continues to spread his vision and more fans take a liking to the weird and wonderful world of the Post-Modern Collective, it is no secret as to why people are calling Running Touch one of Australia’s most exciting talents.
SIPPY is a Sydney based bass music machine – anyone who’s spent time on the Australian bass music circuit knows the name. She’s built her career blasting her signature gut-rattling seizure-inducing sounds through the sound systems of her country’s famous clubs and festivals, including residencies at Chinese Laundry and The World Bar, and a graduate of the famous ICON Collective Music Production school in Los Angeles. Sippy prides herself on bringing much needed courage and realism to the scene. As a result, her name is synonymous with a fearlessly filthy, heavy, extremely creative and precise bass-forward sound. She counts the world’s biggest Bass and EDM producers among her most avid and vocal supporters including Zeds Dead, Bear Grillz, Shockone, plus more.
Teen Jesus and the Jean Teasers
Teen Jesus and the Jean Teasers rapidly built up a name for themselves throughout Canberra after coming through Triple j Unearthed High. Breaking away from the power-pop style from their latest release, Teen Jesus and the Jean Teasers are growing up; and so is their sound. After taking a break in 2018 to finish up their schooling, the girls released their new single as a 4 piece band “I Like That You Like That” Influenced by the 90’s alt-rock era.
Not soon thereafter, the girls began playing alongside acts such as Good Doogs, Polish Club, Northeast Party House, RAAVE TAPES, and are set to support the likes of Alex Lahey, Press Club, Spiderbait and are set to support Slowly Slowly on their national tour in the upcoming months. The 90’s grunge-influenced band have also scooped up the opening slot on the Triple j stage for Canberra Groovin The Moo 2019, as well as already performing at St Jerome’s Laneway Festival Sydney this year.
Tones & I
Without officially releasing a song, adopted Byron Bay local Tones And I is selling out venues full of fans singing every word of her unreleased music.
Originally from the Mornington Peninsula, Tones took a trip to Byron Bay in early 2018 and took a chance at busking. On the first day she had crowds spilling on to the street – so she quit her retail job and decided to make Byron Bay her new home.
Since then, Tones And I has been selling out shows nationally, the most recent at Bondi’s Beach Road Hotel with a record crowd and line around the block.
Tones And I debut single, ‘Johnny Run Away’ was recorded with Konstantin Kersting (Mallrat, The Jungle Giants, Tia Gostelow, The Belligerents) and highlights the singers strong and unique vocals.
Johnny Run Away is about my best friend coming out to his disapproving father at a young age. The song shows people are dealing with judgement and rejection within their own family not to mention the world.
Introducing Winston Surfshirt, the Sydney-based six-piece quickly winning over fans and industry alike with their unique blend of funk, soul and hip-hop - the auditory equivalent of A Tribe Called Quest splitting spliffs with your parent’s favourite band.
Having developed a cult following off the back of their raucous live shows, the band originated as the solo project of singer/rapper/producer Winston Surfshirt before sequentially adopting other local artists and producers to form what is now a musical collective.
With a lauded and unique versatility in their sound, Winston Surfshirt’s past performances range from sold out headline shows across national Australian tours, to festival billing at Splendour In The Grass, Spilt Milk, This That and Yours & Owls, support slots for Midnight Oil's comeback tour, underground warehouse gigs and block parties.
The breakout act have come full speed towards 2018's tail end with new music, dropping brand new single For the Record out November 23rd on Sweat It Out. For The Record fuses Winston's buttery vocals with the mellow atmospherics of a dimly lit jazz bar, as crooning horns slice between the band's signature hip-hop laced production.
Leading 2017 the band released their now gold-certified debut single, ’Be About You’ (#1 on Australian Spotify Viral Charts), followed by ‘Ali D’ and ’Same Same’, all of which earned full rotation on triple j, as well as nods and airtime from international tastemakers in the US and UK including Jason Bentley (KCRW), Huw Stephens & Phil Taggart (BBC Radio 1), Lauren Laverne (BBC Radio 6), and Beats 1 host Zane Lowe, who labelled the group ‘one of his breaking acts for 2017’. Sir Elton John has also professed his continual support for the group, airing all their singles on his Beats 1 program, Rocket Hour, as well as publicly labelling them his 'favourite band of the moment'.
In July 2017 Winston Surfshirt played triple j's Like A Version, slowing down and adding a chorus of vocals to 50 Cent's 21 Questions. September saw the group release their debut album, Sponge Cake - a 16-track melange of summer sounds blurring the lines between funk and hip-hop, bound together with airy vocals and bold brass. Sponge Cake premiered as feature album on triple j and debuted at #1 on the iTunes R&B/Soul Charts, #2 on Apple Music Best Of The Week and #6 on the iTunes Album Charts. Since release Sponge Cake has had lauded reviews from Australia’s own, The Music, (4/5 stars), and German music site, Beatblogger, (4/5 stars), among a troop of others singing equal praise. Wrapping up their national Sponge Cake tour in November, selling out all 10 shows across the country, Winston Surfshirt signed off 2017 with slots at Falls Festival and Field Day, marking them as one of Australia’s most prolific upcoming acts.