Like the best of them, singer-songwriter, Ali Barter was a classically trained choir girl turned rambler and 'rat bag'. The darker end of the street beckoned and women like Karen O and Juliana Hatfield called her in; youth didn't really suit, but she had something to say.
Initially collaborating with friends and strangers, Ali found her musical soul mate in Oscar Dawson (Holy Holy) and the pair have recorded and toured together since. Somehow, the combination resulted in Barter finding confidence in her direction, trusting her voice, and discovering the will to carry it live.
She gathered musicians who could flesh out the songs she was building. They played pub residencies, regional tours and supported the likes of The War On Drugs, The Jezabels and City Calm Down as well as performing at St Jerome's Laneway Festival and Beyond The Valley. This year she released her debut album 'A Suitable Girl' to rave reviews (including a triple j nomination for album of the year), followed by a national sold out Australian album tour.
"Think old-school Kanye, The Avalanches and Mark Ronson rolled into one." - triple j
Alice Ivy's first foray into music, an ill-fated tryst with the clarinet, was swapped for guitar before she began beat-making inspired by the likes of The Avalanches and J Dilla.
In 2016 the 24-year old artist-producer released,"Touch" and "Almost Here" amassing more than 1M plays on Spotify. Her September showcase at BIGSOUND 2016 in Brisbane was widely reported as one of the best of the conference.
In March 2017, she released "Get Me A Drink", added to high rotation on triple j and The Age newspaper placed at #8 in their "Best Songs Of 2017 So Far". In September 2017, in the wake of signing an AU/NZ deal with Dew Process she served up "Be Friends", also added to high rotation on triple j.
In two years Alice Ivy has performed more than 80 shows in 4 continents including main supports for Oh Wonder, Billie Eilish, Remi and E^ST plus two sold-out Australian headline tours, toured the US and Singapore, Canadian Music Week and Australian festivals including Splendour In The Grass, Listen Out, Strawberry Fields, Pitch, Groovin' The Moo and VIVID.
Her debut album is due for release in February 2018
BATTS is the project of the Melbourne based musician and space enthusiast Tanya Batt. Inspired mostly by folk artists, BATTS has reinvented her sound earlier this year with her single ‘For Now’ which explores multiple genres and the inspiration of space, creating a spacey dream pop vibe. With her first four singles gaining millions of plays collectively online and receiving radio support from BBC Introducing, BBC Radio 1, KCRW, triple j, triple j unearthed and many more worldwide. BATTS has been playing live around Australia supporting Australian favourites The Teskey Brothers, Timberwolf, Oliver Tank, nyck, Didirri and many more. Having just signed to THAA records the new label formed by The Hills Are Alive crew and Unified her debut EP '62 Moons' has just been released worldwide.
Recorded in one three-hour session last December, BOAT SHOW's debut album 'GROUNDBREAKING MASTERPIECE' hit the airwaves less than six months after the band formed and cemented the fierce and fun reputation their live show was already building them.
Containing songs mostly about being women, and the pros and cons they must deal with in the music industry, "Groundbreaking Masterpiece" articulates their personal frustrations in their signature brutal and humorous style.
Premiered on LISTEN with an accompanying interview, in no time at all the album received 4.5/5 stars from The West Australian and RTRFM Local Feature Album. Tracks "Cis White Boy", "Staying Alive" and "Suss" all received airplay on triple j with "Staying Alive" and "Cis White Boy" both receiving triple j unearthed rotation and the latter also hitting the AMRAP Community Radio Metro Charts.
Receiving more likes than a cat with laser beams, the band soon found themselves being asked to drink the riders of Cate le Bon, Cameron Avery, Gooch Palms, Pond, San Cisco and Alex Lahey and joined Perth royalty Jebediah and Gyroscope at the inaugural City Limits festival.
During August and September of 2017, BOAT SHOW toured nationally to promote their first single from their sophomore album The Big Smoke, including showcases at BIGSOUND. The album was recorded in Melbourne earlier in the year by Dean Tuza and is set to be released early next year.
BOO Seeka's synths and beats keeps the energy sizzling like a neon sign on the Miami strip. The Sydney hip-hop-psych-soul project begun an outlet for a couple of musical experiments, a testing ground for new sounds. And it's growing, multiplying and producing delicious sounds.
A combination of pulsating synth sounds that bed down layered textures of electronic bass and percussive beats. Influenced by the layerings and experimental beats of Major Lazer, the cool swagger of DJ Shadow and The Seed 2.0's Cody Chestnutt's soulful vocal delivery. BOO SEEKA snaps up melodies and bounces them off hip-hop/R&B driven grooves and beats that vibe. To date, the duo have accumulated over 11 million Spotify streams and dominated national airwaves with their singles 'Oh My', 'Deception Bay' and 'Fool'. Their 2015 debut 'Kingdom Leader' peaked at #6 on the Australian iTunes Electronic chart, and was premiered and featured as Song of the Week on HillyDilly.com. The track made blog and radio waves abroad with features on The Music Ninja and LaBelle Musique and received airplay on KCRW (California), and on XFM in the UK. BOO Seeka's follow up single 'Deception Bay' reached #50 in triple j's 2015 Hottest 100 edition and snagged the outfit a J Award nomination for Unearthed Artist of the Year in 2015.
BOO Seeka's infectious live performance have seen multiple sold-out headline tours and festivals in Australia and abroad, including appearances at Groovin' The Moo, Splendour In the Grass, Party in the Paddock, The Big Pineapple Festival, The Great Escape (UK) and SXSW (Austin TX, USA) earlier this year. They've supported the likes of Sticky Fingers, SAFIA, DMA's, Jarryd James, Cherub (USA) and North East Party House to mention a few. More recently, they've sold out headline shows in Amsterdam, 2 shows in London, San Francisco and New York, proving that they're songs and infectious rhythms travel beyond their breeding grounds.
Their debut album, 'Never Too Soon' was released August 4th, 2017 (through Sureshaker and Warner Music Australia). Working with producer and long time collaborator, Ian Pritchett (Bootleg Rascal & Lyall Moloney), expect development in the duo's sound, with band member Sammy Seeka describing Never Too Soon as:
"This album best reflects our recent life experiences, encapsulating all we've encountered over the past two and a half years. Our recording process for the album followed no structure; we recorded vocals in carparks, tour buses and our studios in Sydney. One vocal loop was recorded into an iPhone on stage in a theatre in America. Ultimately every idea and piece of music we had come together in my bedroom studio, we then took it to our producer Ian Pritchett's garage studio and that's where the songs came to life."
'Never Too Soon' placed at #1 on the Australian iTunes Album Charts on the day of release and debuted at #8 on the first week ARIA Album Charts. It was also chosen to be Triple J's feature album of the week, the week after its release.
Their most recent singles, 'Does This Last' & 'Turn Up Your Light' navigates through a bed of spacey synth and string layers. Building on their eclectic soul-tronic sounds. Both singles has been placed on high rotation on Triple J and have been featured on a few Spotify AU/NZ playlists (including 5 weeks on the Indie Mixtape playlist). With a freshly developed sound and an impressive live show to follow, 2017 looks to cement the duo as a force to be reckoned with.
Fossil: The remains or impression of a prehistoric plant or animal embedded in rock and preserved in petrified form
Fuel: material that is burned to produce heat or power.
No band has played more shows at this beloved festival than these classy gentlemen. The reason is simple. They. Bring. The. Thunder. Carrying with them the passion of playing live music for decades. Literally. Fossil Fuel once again return to The Hill by popular demand, sheer bloody willpower and a burning desire to share their signature sound with festival goers.
The engine room of the band is powered by Tyrannosaurus Tony on drums and Rob the Raptor on bass. They propel the tasty duel guitar and vocal might of Jurassic John and Prehistoric "Chainsaw" Pete. On the front line with vocals, harmonica and sexy sax is Mega Mammoth Mark. Five old school Rock 'n' Rollers who play music for the sheer damn love of it.
At the heart of creative design lies a fundamental understanding of structure and experimentation. Be it music, art, technology or utility, the underlying concepts remain the same. It's no coincidence that Halcyon Drive was born when Mick Oechsle and Max Pamieta met studying design together at university; their ability to understand the process of creative design - to imagine, conceptualise, improvise, challenge, ideate and to ultimately create something out of nothing - has had great influence on the shape and sound of the project as a whole.
Based in Melbourne, their class only consisted of five or six students, so it was inevitable that the pair began to chat, bonding through a love of music. After discovering that they both played instruments, they started hanging out and playing together. Though Halcyon Drive technically began as Mick's solo project, it wasn't long before Max, who would initially join Mick on stage to add energy to the performance, became a permanent member. To this day, they split the creative process down the middle.
That background knowledge of design proved hugely beneficial to their unique approach, particularly in terms of finding confidence in their own ideas, and of "knowing at what point one should grovel in the detail, and when it is okay to bin an idea," Max explains. Pooling together a massive range of influences from Queens of the Stone Age, Fall of Troy and Spoon to St Vincent, Neil Finn and David Byrne, they carved their own sound through hours of jamming and performing together. Initially taking cues from pop-centric indie, they grew a little "weirder" and more "different", ultimately releasing two EPs, 2014's Cruel Kids and 2016's Untethered.
Following Unthethered, Mick and Max set to work on their debut album, and for the first time, began toying with electronic production. Max in particular developed a far greater understanding of electronic production and instrumentation, having only "very much lived in a guitar, bass, drums bubble" prior to the band's evolution.
The Halcyon Drive songwriting process is remarkably organic. Typically, the two enter the room "with a blank canvas", jamming and letting the music form naturally out of guitar loops and experimentation. Recording these sessions on their phones, they would later listen back and sift through their jams, looking for diamonds in the rough. These would form the basis of songs which they would later refine and structure.
While the pair share that fundamental background knowledge, their approach to songwriting couldn't be more different. Joel Quartermaine, Eskimo Joe guitarist and producer of the group's upcoming debut album, described the two as "Yin and Yang. Mick bounces off the walls in the studio. Max is the walls."
"Max thinks of music very differently to me," adds Mick, "especially in terms of structure, arrangement and melody." Where Max confesses to obsessing over minute details and embellishments, Mick's approach is more overarching and conceptual, focusing on the bigger picture and the overall vibe. The songs themselves are written together, while Max also focuses on fine-tuning details within the arrangement, and Mick handles the storytelling: lyrics, themes and vocal melody.
For example, lead single 'The Birds' centres around a relationship in Mick's life, while Max's instrumentation is what pushed it to the next level, sonically. "It was a cobbled-together song with older songwriting and new ideas, like the entirely instrumental bridge," says Mick. "It was the first time we'd done anything like that, it was entirely written by Max - it was sheer genius." The initial melody for 'The Birds' was written two years prior, but the song only came together at the eleventh hour. "I remember when we came up with this chord progression in the studio, right at the end of writing the album," says Mick. "Something clicked. I went back and found those earlier chords, and it just worked. That's what I love about 'The Birds', it encapsulates everything we've done over the last 3-4 years. It's got electronic undertones, a heartfelt sentiment, and some really edgy production.
The song itself was written about that exciting yet uncertain period at the start of a relationship, where two people have to learn about each other, their routines, their ways of living life. Beautiful and bittersweet, the concept is sonically reflected by a subtly dark electronic layer, underpinning the smooth instrumentation.
While 'The Birds' contains a certain meaning for Mick, it's also deliberately left open for interpretation, inviting the listener to find their own meaning. That concept lent itself particularly well to the track's accompanying video, imagined and created by upcoming Melbourne director Greta Nash (Note: need to confirm the name and title).
"Greta interpreted the track in her own way," says Mick. "She took in the darkness of the song. The only brief we'd really given was that we wanted it to have a Black Mirror element." Set in the back of an Uber, a cast of passengers come and go around Melbourne, feeling stressed with work, scrolling through their phones, leaving a wild party and so on. As though from the perspective of the driver, the viewer meets these characters and peers into their lives. "It's about knowing someone. Really knowing someone, even a stranger. It's intentionally open-ended, just like the song."
The album was produced at a small studio within an industrial state in Moorabbin, Melbourne. It's so small and remote that it almost felt like a bedroom. Here, they would work with Joel, who acted as both mentor and critic for the group. "Joel was the voice of the audience," says Max. "He'd call out parts that needed to be trashed or tweaks, even lyrics, to make the songs more palatable and rewarding for the listener."
Lyrically, the songs on the album predominantly come from observations within Mick's life, from people and relationships to social commentary, and even memorable dreams. (Note: Mick said the track name was changing but not sure what to) 'Kale', for example, was the first political song he's ever written. Penned when Donald Trump was elected into office, Mick pointed his finger at the people, not the President. "What does it say about society, that that can happen?" He asks. "Don't worry about the clown, you're the ones who voted him in."
Elsewhere, 'Elephant Bones' was written during the height of the Pokémon Go craze. "We were on tour, I was sitting on the beach somewhere. It looked like zombie people were coming out of the darkness, glued - addicted - to their phones. It left such a strong impression. The name just came to me, it felt like a weird term you could use for any piece of technology. It just sounded right." But the album isn't all about hard-hitting concepts and dark ideas. 'Satellite' and 'Reach' are softer and deeply emotional. Both written while Mick's partner was overseas, he refers to these as his "long-distance relationship songs". "'Satellite' is about the odds of finding the person who actually works for you."
After nearly eight years, Halcyon Drive is ready to present its debut album to the world. Rich in its widespread, imaginative themes and melodies, the album is crafted along a musically diverse topography, as sublime on stage as it is inside headphones. With a national tour and more on the way, the future is bright for Halcyon Drive.
Heaps Good Friends is writing buddies Emma and Nick getting their txt msg lyrics on in a Peanut Brittle Pop sound. They met 10 years ago in the old Gladstone Gaol in South Australia where Nick recorded Emma's first demo in the K wing.
Heaps Good Friends hit their stride with 'Let's Hug Longer' which struck a chord with the triple j clan and now it's time to get down party time with their latest track 'Olympic Sneakers'.
Latest addition drummer Dan brings the live show full circle and having just finished a lap of the country with The Jungle Giants for their recent tour and an impromptu Bigsound appearance the band are now gearing up to release their debut EP next year.
Inspired by the flavours of New Orleans to Fitzroy, this punked-out seven piece raucous street band take brass band music to a whole new level. From humble beginnings, the band has evolved from playing the streets of Melbourne to some of the biggest festivals and stages across the country.
Taking sounds from a number of musical influences, their debut record will be a fresh culmination that highlights all there is to dig about this band.
Whether you love them for their New Orleans inspired street parties or their raucous stage shows, Horns of Leroy always deliver and have earned themselves a reputation to match.
There's always a party happening somewhere, and Jakubi provide the perfect soundtrack. That's why the Melbourne, Australia quintet—brothers Jerome [vocals, keys, talkbox] & Jacob Farah [bass, moog], cousins Jesse Rehaut [drums, guitar] & Adam Kane [guitar, keys], and longtime friend Rob Amoruso [guitar, keys, drums]—immediately attracted a growing audience with their swinging, slick, and sizzling sonic buffet of pop, R&B, hip-hop, rock, and soul since first emerging in 2012. It all started as a good time...
Jacob began hanging out at the Melbourne house Jesse and Adam shared. Soon, he invited his brother, while Adam reached out to Rob. Unassumingly coming together, they would rock all night in an upstairs jam room, inviting patrons of the bar below to experience the burgeoning magic. In 2013, they uploaded "Can't Afford It All" to Soundcloud, and it swept the internet with 500,000-plus plays in a month. A Kygo remix would swiftly cross the 5-million mark as the boys received an invite to tour with Fishbone in the United States during early 2014. As demand for headline shows grew, they returned to North America and lit up a New York gig attended by Epic Records Chairman and C.E.O. L.A. Reid. They left the states signed to the label in 2015. "I believe our live shows are our strongest point," exclaims Jerome. "That's where we're really at home."
"Because we started playing house party style, we feel super comfortable performing," agrees Rob. "For us, it's about playing in front of people. We're just five friends making music together. On stage is where we all come together and the music comes to life."
Their next 2015 viral smash "Couch Potato" racked up over 500,000 YouTube/VEVO views and garnered effusive praise from Perez Hilton. 2016 saw the boys land in Los Angeles to record what would become their appropriately titled debut EP, 61 Barkly—the address of the house where they first jammed. For six months, they collaborated with everybody from GRAMMY® Award winning producer Eric Hudson [Kanye West, John Legend, Dr. Dre] and Harmony Samuels [Ne-Yo, Chris Brown] to Royal-Z [Fifth Harmony] and FRESHM3N III [Nicki Minaj, Britney Spears].
"None of us have been to University at all," Jesse goes on. "Working in L.A. and touring the states felt like our education. The biggest inspiration from traveling was the level of musicianship we got to see. There are amazing musicians in Australia, but the level is much higher in the U.S. It made us work harder and opened our eyes. There's no better education for something creative than actually being there and doing it in front of a crowd and in the studio. It was a huge lesson."
Produced by Hudson, the funky fresh swag of "Bank Account" kicks off 61 Barkly with a bang as Jerome's voice volleys between buoyant guitars and resounding keys. "It's like a sequel to 'Can't Afford It All.' You've got the girl, but she just loves money," laughs Jerome. "You're pretending to be a rich dude, working down to the bone, and doing everything to keep this girl. It's a fun one."
Bells and a choir of "Whoa's" introduce "Uptown Lady" before smooth and sugary vocals take hold. "I love songs with a strong message that are poppy," continues the frontman. "It's not Beyoncé, but it still empowers women."
Working with Samuels, "Pillow" is a reggae-tinged ode to everyone's favorite bedtime accessory, while "Nobody Better" serves up a different kind of love song that's equally soulful and sweet.
"We're five individual minds who come from different backgrounds, but all want the same outcome," says Jesse. "It's never one style or genre; it's just, 'Let's make the songs as good as we can make them.'"
Their unparalleled chemistry stems directly from a family bond. "It's such a big part of who we are," comments Adam. "That connection helped smooth the process of touring and making a record halfway around the world from our homes. Being a family keeps us real."
Now, 61 Barkly is the place where the fun commences. "This is only the beginning," Jacob leaves off. "It's our proper step in the door on an international level. This is it, and we can't wait to share this music with the world."
In just a few months since inception, electronic enigma JAMATAR has performed sold out shows in London, penned a UK record deal, and has been announced on this year's Square Sounds festival. JAMATAR's new EP "Journeys", released in November 2016, scored high praise from chiptunes and broader EDM reviewers alike for creating an uplifting musical experience that both celebrates and transcends the classic 8-bit genre. Since the EP's release, JAMATAR has appeared in the festival lineups of Square Sounds, NYE on the Hill and The Hills are Alive.
Wielding ambient-come-pounding electro beats combined with an impressive visual show, JAMATAR's live performance is already amounting a fast reputation for one hell of a party and his future shows are not to be missed.
When you first encounter him, soft-spoken Kim Churchill seems like an archetypal blond, blue-eyed surfer from southern New South Wales. But behind his laidback demeanour and even tone, the 26-year- old singer-songwriter has a secret: he's an extreme risk-taker.
Churchill spent 18 months working on the follow-up to his breakout LP, 2014's Silence/Win, and received a stamp of approval from his record label. Album-release plans were drawn up and Churchill began to field offers from festivals and concert promoters around the world. But the new record – polished and accessible – didn't quite feel right. At the last minute, Churchill decided to throw it out and start again.
"I worked really hard on the follow-up record for a long time," he explains – "and it sounded good. But some very subtle layer of my consciousness was saying to me, 'It's not all that inspiring.'"
So Churchill picked up his guitar. He wrote a second version of the album in one frenetic week, then spent two months piecing together the new recordings with ARIA-winning producer Ian Pritchett in a garage in Western Sydney. The resulting LP, Weight_Falls, is a kaleidoscopic collection that is bound to take both fans and critics by surprise.
Those familiar with Churchill's radio smash "Window to The Sky", which reached number 42 in Triple J's Hottest 100 in 2014, will recognise signature elements in these new recordings: intricate guitar work, intuitive vocal melodies and a wonderful feeling of space and warmth. New single "Second Hand Car" is immediately identifiable as Churchill's with its retro keys, propulsive guitar line and rousing chant-a-long chorus.
What sets Weight_Falls apart from Churchill's previous releases is its sense of adventure and unpredictability, characterised by chopped-up drum samples, unusual harmonies and moments of disarming lyrical honesty.
Churchill credits two years spent "growing up" for much of the shift in sound. After touring Silence//Win around Australia in 2014 and 2015, he embarked on a series of high-adrenaline overseas trips that included performances at the Glastonbury and Telluride Blues Festivals and adventures in the Peruvian Andes and along the coast of Sri Lanka.
He wrote plenty of songs during this time – three of which survived the album reboot and appear in re-recorded form on Weight_Falls. But most of the on-the- road material seemed too obvious by the time it had been recorded and mixed back in Australia.
"The travel was all about honing in on the person that I was," he says. "And those experiences really do shape you. But when you spend a year experiencing things for the first time, it takes a while for everything to sink in. By the time I scrapped the first version of the album, I finally felt ready."
True to form, Churchill decided to make the new recording process an adventure, tasking himself with learning production skills for the first time. Incredibly, much of what you hear on Weight_Falls came to life on simplistic home software. Churchill then took the recordings to Pritchett, who has previously helmed albums by Angus & Julia Stone and The Beautiful Girls.
"I think there's a certain charming, childish quality that comes with doing something that you're really not very good at," he explains. "I was making these really weird beats with a little drum kit on my iPad and cutting up my guitar parts and overdubbing things. I ended up creating my own style of production."
With only his instincts to guide him, Churchill turned his limitations into advantages. "I can't play bass so I was forced to use these really odd Moog bass samples and I couldn't tap out any proper bass part, so I was just holding long bass notes. That started to create an almost Bristol trip-hop quality."
The song structures are similarly inventive. On "Heart of You", Churchill pairs a sinister guitar line with propulsive hand claps before introducing a monstrous chorus that locks in perfectly. Later, on the delicate "Rosemary", he ruminates on love and death against a guitar/strings backdrop that rises and falls like ocean waves.
"That song was written from the perspective of this old guy called George, who was in the same hospital ward as my grandmother and died within the same week," Churchill says. "He saw my grandmother in her bed and decided she was the love of his life for some reason. They decided to keep each other company in the hospital."
He adds: "When I play that song live, nurses and doctors will come to me and tell me that it's an incredibly common phenomenon, especially for old men. These hardened old men that showed no emotion during their lives, finally their psyches begin to break down and they start throwing enormous amounts of love at nurses or anybody they can find."
If there's a common thread tying Weight_Falls together, it's Churchill's self-belief. Whether he's blazing through a distorted guitar solo or harmonising with himself over feather-light instrumentation, there's a sense that this music, this album, is authentic. Ultimately, he hopes, it's that authenticity that will secure his place as an artist to remember.
"I just want to write music to entertain and to move people and to be the soundtrack to their lives," he says. "I want to become a figure in the world that helps people see that it's all ok, and the world is what it is – the best and worst parts of it."
Following a mammoth 12 months off the back of the acclaimed album If This Is All We're Going To Be, Luca Brasi have toured relentlessly. Crisscrossing Australia with compatriots Violent Soho and The Smith Street Band, Asian and European dates, a sold out U.K. tour with Moose Blood and Pup, tearing it up at festivals like Laneway, Unify Gathering, Party In The Paddock and Festival Of The Sun all summer long, plus nailing their own wall to wall sold out headline runs; the band are in explosive form. With Got To Give we're handed the first taste of their evolved musicality and knack for crafting a catchy tune with weight.
Comments vocalist and bass player Tyler Richardson, "the last year has surpassed any hopes and dreams we could have had, I can't even express how stoked we are to get to do this type of stuff. People often tell me how thankful they are for the band, and how stoked they are. All I can ever reply is that from our end, it's just disbelief and we're more thankful for them than they could imagine. Got To Give is about that exact feeling, and needing that kind of support wherever you can get it. Being able to rely on the ones you need and love when things change is something I'm eternally grateful for."
After disbanding in 2015 Playwrite return to the Hills are Alive stage for a very special one off performance.
During their 5 years, Playwrite developed a cult following for their electrifying live shows and poignant and heartwarming songs.
Having toured the country with the likes of Elbow, Half Moon Run and Wild Beasts, Playwrite released their debut album 'Cathedrals' in late 2015 to critical acclaim.
Real Slinger has been a regular DJ at the Hills since it all began 10 years ago, mashing up a variety of styles and bringing a feel good party vibe to the Hill from both the main stage and the tower. From his classic "Ghostbusters" themed set to his unique "A to Z of Music" set, this Hills favourite has something extra special in store for the 10 year anniversary. You. Will. Dance.
With a sound that is equal parts raw and emotive, captivating Sydney songstress Thandi Phoenix, is set to carve a path for herself as one of Australia's most promising female electronic/RnB artists.
Kick starting her career with a fruitful 2015, Thandi collaborated with the likes of Ta-ku, B-Wise and Coin Banks, performed at Bluesfest, Soulfest and a debut set at Splendour in the Grass. Her late 2015 single 'Come Around' received consistent support from Triple J highlighted by their music director Richard Kingsmill's comment "What A Voice". Her next collaboration with Arona Maine received huge support from FBi, being added to A-rotation and scoring Thandi their Independent Artist Of The Week.
Showing no signs of slowing down, touring with UK powerhouse Rudimental which solidified her as one of the strongest emerging live artists in the country, holding more than her own in stadium sized venues around the nation and gaining massive support from Rudimental themselves.
Thandi's first record for 2016 'Tell Me Where The Lovers Have Gone' was received tremendously since its release, highlighted by its No.1 on the AU Viral Spotify Chart and being added to full rotation to Triple J. The exposure saw Thandi performing with Taku at the Opera House alongside a string quartet, as well as a run of noteworthy support slots for Jhene Aiko, Tinashe, Sampa The Great and Wafia.
Thandi was then invited as a special guest to perform with Just A Gent at his 'Like A Version' debut on JJJ. The performance was dubbed as one of the highlights of the year, delivering a memorable cover of Kid Cudi's 'Day 'N Nite'. Her performance was backed up with jumping up for another memorable live rendition at Just A Gent's sold out Sydney show with L-FRESH The LION.
Off the back of her continual success, Thandi penned a deal with the UK's Island Records, which will see her spend an extended time period there recording her debut EP. Following a busy and productive Summer in the studio with some of the most respected local and international producers, everyone is anticipating Thandi Phoenix's next moves.
Theme Team play songs from the TV shows you didn't even know you missed. Live and note-for-note, just as the gods of television intended!
Theme Team have wowed audiences at The Hills Are Alive, Oz Comic-Con, and even performed alongside Australian childhood icon Peter Combe.
Featuring members of Ali Barter, BATTS, Canary & Dorsal Fins; their powers combine to harness and refocus energy wasted watching Retro-Junk videos on YouTube.
Their sole aim is to take you on a crazy rollercoaster ride of memories and nostalgia.
Remember, The Power Is Yours!™
These New South Whales are a self-proclaimed "Buzz Band" from Newcastle, Australia. They bring a fresh brand of power and songwriting to post-punk. Like most bands they draw on influences from many genres including punk, garage, metal, new wave and goth but unlike most bands they have managed to embrace and enhance these influences together to merge a fresh new brand of punk.
It wasn't long until the band earned a reputation on the Sydney underground punk scene as a raucous, unpredictable and exciting beast. Live, in 2017, These New South Whales are taking audiences to new depths. Donning nipple tape, nauseating strobe lights, smoke machines and twisted vocal FX pedals, These New South Whales create sonic hell-scapes with deeply pitch bent vocals, jarring loops and screaming, heavy guitars that effortlessly manage to engage and break down barriers by confusing, scarring/scaring (take your pick), surprising and most importantly entertaining their ever-growing fan base.
These New South Whales is a constantly evolving beast and an experiment in creativity and performance through the punk lens. 2015 saw the band set out to blur the lines even further by releasing a mockumentary online series about the band giving the performance art aspect new channels to evolve and reach audiences beyond the live stage. Inspired by real audience reactions and engagement to the the band and it's live performances, the series is, at it's core, a satire and commentary on the music industry at large, musicians themselves and a playful exploration of punk music and the archetypal characters that exist in and around this world.
Highly acclaimed by fans, media and peers alike, the mockumentary series features cameos from local and international heros including METZ, CHVRCHES, Royal Headache, DMA's, Kirin J Callinan and DZ Deathrays with Season Two (in the works) set to include cameos from The Cure, Jimmy Barnes and Daniel Johns to name a few.
"The best mockumentary since Spinal Tap" - Monster Children "They're rich with self deprecating humour" - Noisey "Sydney's most revered punk band" - Triple J
In 2017 off the back of singles Meat Hook , We Don't Need You Anymore and Cholesterol Heart , These New South Whales are set to release their debut album, You Work For Us. Recorded DIY in a WWII bunker in regional NSW and due for release in August 2017, the album consists of 14 mad-eyed and sharp-tongued punk songs, covering 28 minutes of explosive power which is as inwardly and outwardly flagellating as it is boisterous and triumphant.
The band are now poised for big year as they get set to release their debut album with national and international touring in their sights. Haircuts are going to be blown off and nipples are going to bleed, fuck ya and god bless!
One of Australia's brightest talents, Rising Indie / Alt / Rock Artist Timberwolf has released his debut full length record 'Íkaros' and announced an East Coast tour of Australia.
With his previous last three singles receiving high-rotation on triple j as well as independent stations across the country, 2017 has already seen Timberwolf tour nationally with Amy Shark, Lime Cordiale and The Teskey Brothers as well as perform his own headline shows and a number of coveted festival slots and international supports.
Timberwolf has also been announced as part of an incredibly impressive lineup for Woodford Folk Festival, capping off a busy year of new music and touring.
Since releasing his Flux EP Timberwolf has amassed more than 2 million streams on Spotify, has taken out Best Songwriter, Best Male Artist, and Best Experimental Artist Awards at South Australian Music Awards and signed to US publisher Third Side Music (Courtney Barnett, Flying Lotus, BadBadNotGood, Kurt Vile, Wolf Parade).
To say Ziggy Ramo's voice is an important one in the Australian hip hop scene would be a gross understatement – over a very short period it's become as integral as peers like Briggs and Remi. At a time when artists like A.B. Original are (quite rightly) swinging sledgehammers in their efforts to expose Indigenous issues in this country, Ziggy is right there beside them with a cut-throat razor, slicing deep into the heart of race relations in modern Australia.
Over the last year, the 22-year-old Perth-based artist has risen from "emerging" to "established" with his insightful, emotional and arresting debut EP Black Thoughts, quickly followed by the powerful single, 'Black Face'. With a style that owes itself more to the Golden Era of hip hop than the glossy, over-produced, auto-tuned "rap gods" of today, Ziggy's scything flow, effortlessly combined with a politically-charged focus, puts him in a league of his own.
Growing up in remote Arnhem Land, regional NSW, Sydney and Perth and with family connections in Far North Queensland, his voice whether through music or public speaking, addresses the silenced injustices of Aboriginal Australia as well as other social issues. Lyrically influenced by artists such as Yasiin Bey (Mos Def), Lauryn Hill and Common, along with activists like Charlie Perkins, Gary Foley and Adam Goodes, Ziggy finds passion in giving voice to issues affecting those often unheard. Tipped by triple j Unearthed Artist To Watch in 2017, you'll get the chance when he begins the next phase of the Ziggy journey – that is, in the live arena. With the live act Ziggy Ramo and The Love, featuring his production partner in crime JCAL on the drums, Ziggy is only just getting warmed up, and he's about to change the face of what it means to be a hip hop artist in Australia right now.
Bringing together both forces of dark and light, space explorers, Zoë Fox and the Rocket Clocks launch into a mixed salad of psychedelic pop, enter time warps of soft lullabies and then blast into the future with classic disco tunes.
It's smart, memorable, pop songwriting delivered with an unforgettable vocal tone that swirls all around you one moment and cuts right through you the next. Old world sounds delivered with a modern twist. Engaging, emotional and always fun.
Lyrically the songs are riddled with philosophical ideas and an ever-growing curiosity of the universe around them. Forever challenging their lovely listeners to band together and make something of themselves, while remembering to always have as much fun as possible doing so. We're all swirling around in space anyway, so we might as well come together and dance...